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Full text of "Lyon & Healy's Catalogue of their collection of rare old violins: mdccxcvi-vii, to which is added a historical sketch of the violin and its master makers, also a list of choice music for violin, arranged as solos, duets, trios, quartettes, etc"



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3 1924 022 391 993 



CORNELL 
UNIVERSITY 
LIBRARY . 




FROM 



Leiit and "oore 



MUSIC LIBRARY 




The original of tiiis bool< is in 
the Cornell University Library. 

There are no known copyright restrictions in 
the United States on the use of the text. 



http://www.archive.org/details/cu31924022391993 



Lyon S^ Healfs Catalogue 
of their Collection of Rare 
Old Violins: mdcccxcvi-vii 

To which is added a Historical Sketch 
of the Violin and its Master Makers, also a 
List of Choice Music for Yiolin, arranged 
as Solos, Duets, Trios, Quartettes, etc. 



" To perfect that wonder of travel — the locomotive — has per- 
haps not required the expenditure of more mental strength and 
application than to perfect the wonder of music — the violin.'''' 

W. E. GLADSTONE. 



¥ 



CHICAGO ; THE LAKESIDE PRESS : MDCCCXCVI 

s 







COPYRIGHT, 1896 

By LYON & HEALY 



The Poor Fiddler's Ode to His Old Fiddle. 

"Torn 

Worn, 

Oppressed I mourn 

Bad, 

Sad, 

Three-quarters mad: 

Money gone, 

Credit none. 

Duns at door, 

Half a score, 

Wife in Iain. 

Twins again, 

Others ailing, 

Nurse a railing. 

Billy hooping, 

Betsy crouping. 

Besides poor Joe, 

With festered toe. 

Come, then, my fiddle. 

Come, my time ■ worn friend. 

With gay and brilliant sounds. 

Some sweet, tho' transient solace lend. 

Thy polished neck, in close embrace, 

I clasp, whilst joy Illumes my face. 

When o'er thy strings I draw my bow. 

My drooping spirit pants to rise; 

A lively strain I touch — and lo 1 

I seem to mount above the skies. 

There, on Fancy's wing I soar, 

Heedless of the duns at door ; 

Oblivious all, I feel my woes no more; 

But skip o'er the strings, 

As my old Fiddle sings, 

"Cheerily oh! merrily go! 

"Presto! good master, 

"You very well know, 

" I will find Music, 

*' If you will find bow, 

"From E, up in alto, to G. down below." 

Fatigued, I pause, to change the time 

For some Adagut, solemn and sublime. 

With graceful action moves the sinuous arm ; 

My heart, respdnsive to the soothing charm. 

Throbs equably; whilst every health • corroding care. 

Lies prostrate, vanquished by the soft mellifluous air. 

More and more plaintive grown, my eyes with tears o'erAow, 

And resignation mild, soon smooths my wrinkled brow. 

Xeedy Hautboy may squeak, wailing Flauto may squall. 

The Serpent may grunt, and the Trombone may bawl. 

But my Poll,* my old Fiddle's the Prince of them all. 

Could e'en Dryden return, thy praise to rehearse 

His Ode to Cecilia would seem rugged verse. 

Now to thy case, in flannel warm to lie 

Till call'd again to pipe thy master's eye. 

•Apollo." 

AUTHOR UNKNOWN. 




Preface. 

The newspaper items one sees now and then about the 
exorbitant prices of old violins has befogged the public 
mind on the subject, so that people generally believe that 
it is necessary to spend a small fortune in order to secure 
one of these old instruments. That this is an entirely 
erroneous impression we are prepared to demonstrate, and 
that too, in the most effective manner by offering good old 
violins at prices ranging from $25, $50 and $'JS^ upward. 
Primarily a violin should be made on a good model, the 
quality of the varnish should be good also, but above all 
the tone quality must be satisfactory, otherwise the instru- 
ment has little or no value in either an artistic or commer- 
cial sense. Now the ideal tone quality is found only in 
an old violin, and if the purchaser is secure on this point, 
his investment is a safe one, as the instrument with proper 
care is bound to increase in value with the lapse of years. 
In the following pages will be found descriptions and prices 
of the greatest collection of old instruments — Violins, 



6 Preface. 

'Cellos, Violas and Basses — ever offered the American 
public. A very important feature of this catalogue is the 
Historical Sketch of violin making and violin makers 
which precedes the catalogue proper. We consider that a 
knowrledge of Violin literature is essential to the student 
and dilettante, particularly when contemplating the pur- 
chase of an instrument. We have not mentioned all the 
makers of the different schools, but the reader will find all 
the really important names of the violin-making world,and 
for the less important makers, as also for more elaborate 
biographical sketches, we beg to refer him to the works 
named in the last pages of this catalogue. If the perusal of 
these pages will enable the prospective purchaser to obtain 
a better idea of the relative values of old instruments, so 
that the interested "expert " or dealer will not be able to 
work off modern stock as genuine old instruments, a cus- 
tom only too common in this country, particularly in the 
East, as is forcibly illustrated by the records of a recent trial 
in the Courts of New York City, — all of which we very 
much deplore — we shall feel amply repaid for the time spent 
in its compilation, and believe with the Latin poet, "Finis 
Coronat Opus." Should the reader be in doubt as to the value 
or genuineness of an old violin in which he may be inter- 
ested, we will be happy to answer any questions addressed 
to us, and we invite inspection of our own collection by all 
who are interested in the subject. 

Chicago, i8g6. 




^ "J. ^ ' ** _J_ I ' ^^ I J— 



How You Can Buy. 

While we prefer, of course, to sell for cash, we do not 
make this an absolute condition. 

As an accommodation to our customers we sell, when 
desired, for part cash and the balance in installments. 
The cash payment must be at least one-fourth of the 
cost of the instrument ; the remainder may be divided 
into equal monthly payments, provided for by an install- 
ment note, bearing interest. 

Any old violin can be exchanged, if desired, any time 
within a year after date of purchase, ^e guarantee the in- 
struments in every instance. 

We take old violins and 'cellos in part payment, and in 
case a better instrument is desired at any time, we will 
allow full price for any old violin or 'cello bought of us, 
applying the amount on the new purchase, so that nothing 
will be lost in making the exchange. 

To responsible parties we send violins on trial for one 
week. Instruments will be sent C.O.D.with seven days' 
trial allowed. Persons ordering instruments on trial must 
pay express charges both ways if they make no purchase. 




'ulffrSurrrjifii 




Historical Sketch. 

Nowhere in all English literature do we find a nobler or 
more glowing tribute to the Violin than that penned by our 
own immortal "Autocrat." As a word-poem it is vibrant 
with music of the highest order and in its brief compass it 
tells us more about the tone possibilities of a fine old violin 
than could volumes written by a less gifted writer. 
Addressing his " Breakfast Table " audience, mute with 
rapt attention he says ; — 

"Violins, too — the sweet old Amati! — the divine Strad- 
ivarius! Played on by ancient maestros until the bow- hand lost 
its power and the flying fingers stiffened. Bequeathed to the 
passionate young enthusiast, who made it whisper his hidden 
love, and cry his inarticulate longings, and scream his untold 
agonies, and wail his monotonous despair. Passed from his 
hand to the cold virtuoso, who let it slumber in its case for a 
generation, till, when his hoard was broken up, it came forth 
once more and rode the stormy symphonies of royal orchestras, 



lo Rare Old Violins. 

beneath the rushing bow of their lord and leader. Into lonely- 
prisons with improvident artists ; into convents from which 
arose, day and night the holy hymns with which its tones were 
blended and back again to orgies in which it learned to howl 
and laugh as if a legion of devils were shut up in it ; then again 
to the gentle dilettante who calmed it down with easy melodies 
until it answered him softly as in the days of the old maestros. 
And so given into our hands, its pores all full of music ; stained 
like the meerschaum, through and through, with the concen- 
trated hue and sweetness of all the harmonies which have 
kindled and faded on its strings." 

Could anything be more beautiful or more appropriate 
to the subject ? 

To add a word or alter a phrase would mar beyond 
measure its exquisite symmetry and so we will proceed at 
once with the subject-matter of our sketch. 



The oldest of the modern violin family is the double 
bass. Following it came the violoncello, then the viola and 
lastly the violin, which made its debut during the last years 
of the 1 6th century. The exact date of the violin's 
appearance is not known, as the Italian term violino was 
applied generically to the tenor or viola and also to the 
violin, as we know it ; hence it is difficult to determine 
when the use of the term ceased to be applied to the 
viola. 

As late as the year 1597 ^^ term "violino" was 
used to indicate the tenor, and, according to Messrs. 



Historical Sketch. ii 

Hill, "a further proof of this lies in the fact that in 
1608, Monteverde, one of the founders of modern 
opera, and the father of modern orchestration, in his 
" Orfeo," was the first to assign the violini — violins 
here, not tenors, as the music shows — z part in the 
orchestra, indicating them as ^'■piccali violini alia Francese" 
showing that the term violini alone would not have indi- 
cated the instrument he had in mind, and at the same 
time this would indicate that the violin had received 
earlier recognition in France than in Italy. 

It was in 1608 then, that orchestral music was first 
written for the violin. 

Another fact to be remembered is, that up to this 
time, the violin was not regarded as a solo instrument, 
nor was it considered as even of importance in orchestra 
work. Its use was confined solely to support and 
accompany the soprano voice. It was almost a century 
and a half ere the violin rose to any prominence as a 
solo instrument, and even then its use was confined 
chiefly to the salon and to chamber music. 

In 161 2, however, we find passages running up to 
the 3d, 4th and 5th positions, in orchestral scores, and 
gradually in the years immediately following we find a 
departure from simple forms, and the staccato, pizzicato 
and other technicalities introduced. 

Bearing all these facts in mind, let us now consider 
the great pioneers of violin building of the period, and 
take a survey of the conditions in Italy which surrounded 



12 Rare Old Violins. 

those men whose names are famous the world over for 
the wonderful work they accomplished. 

They lived in that epoch of intense literary and 
artistic activity known as the Renaissance — that period, 
richer than any other in the names of great men — 
painters, philosophers, poets, explorers — Titian, Cellini, 
Michael Angelo, Raphael, Jansen, Keppler, Shakspeare, 
Bacon, Columbus and Vespucci : that time in Italy " of 
picturesqueness, splendor, squalor, religious fervor, philos- 
ophy and humanitarianism strangely mingled." 

Brescia, the pearl of Lombardy, saw the first violins 
that were made. It is a noble old city, full of historical 
interest. 

During the 1 6th and 1 7th centuries it had a most 
checkered experience. The sack of Brescia by the 
French, in 1 5 1 2, was most terrible. From that time until 
the close of Napoleon's Italian campaign, it was almost 
constantly racked by wars and strifes, — internecine and 
foreign, — owing allegiance to Venice to-day, and to-mor- 
row to Austria, until in 1797, Napoleon, with keen appre- 
ciation of its strategic position, made it the capital of one of 
his Italian provinces. 

Such was the state of northern Italy, when Caspar 
Bertolotti, known as Gasparo da Salo, was born in Salo, a 
suburb of Brescia, about the year 1542, and Brescia will 
always be of great interest to the antiquarian violin lover 
for this reason. 

Gasparo da Salo was the first great maker of violins of 



Historical Sketch. 13 

whom we have any record. Authorities differ on this point, 
however, many writers maintaining as facts, that which is 
only in reality little more than fancy. 

Violins undoubtedly were made prior to da Salo's time, 
but owing to their unimportance, and the fact that violin 
music had not yet made its appearance, we can find no 
specimens of the violin earlier than those of da Salo, and it 
may be surmised from a critical study of his work, that his 
violins were early specimens of the instrument which, 
modified by his great pupil, Maggini, by the Amatii, and 
later by Antonio Stradivari, has since become the " king 
of instruments." 

Nevertheless there is no evidence at present which 
justifies us in attributing the invention of the violin to Gas- 
pare da Salo — great artist as he assuredly was — or to his 
contemporary, Andrea Amati. 

That honor has been claimed by certain French writers 
for a Frenchman in the year 1449, by some able German 
" Kenners " for a native of Niirnberg about the same 
time ; but let us rest content in a knowledge of the fact 
;hat no violins dated earlier than those of Gasparo da Salo, 
1542— 1 6 10, are now known. 

Violins are classified by connoisseurs as belonging to 
different " Schools." Those of Brescia are designated as 
belonging to the Brescian School ; those of Cremona, as 
of the Cremonese School, and so on, and in this manner 
we will now consider them. 



Gafparo daSa(6 , In Bre icia. 



The Brescian School. 

Gasparo di Bertolotti, commonly known as Gaspare 
da Salo, 1542-1610. The founder of the Brescian school 
of violin making. He made chiefly viols and violas, which 
are of special note. His violins are exceedingly rare. We 
know of but one genuine da Salb in America, and in Europe 
they are seldom seen. M. Fetis mentions two. They are 
large in size, with^holes correspondingly large. Varnish 
a deep yellow or dark brown of very fine quality. Purfling 
ordinarily single, and labels never dated, as above. 

This maker, so prominent in the early history of 
the violin, as stated above, was the first of whom we have 
any record who made violins. It is as a viol and viola 
maker that he should be chiefly recognized. He lived at a 
pre-violin period, so to speak. He died in the year 1609, 
and the reader will remember that violin orchestral music 
did not make its appearance in Italy until 1608, so that the 
demand for violins at his time must have been very slight. 
There can be little doubt that violins appeared earlier even 
than his time, 1550- 1609, and that the transition from the 

14 



The Brescian School. 15 

viola and 'cello must have been, in the nature of things, 
very slow indeed, so that, aside from the great interest 
attached historically to his name, as the first violin maker, 
he cannot, technically speaking, judging from the paucity, 
and character of his v/ork, be regarded as one of the great 
violin makers, for he made as few violins as Maggini did 
violas. 

But to Gasparo da Salo, belongs the credit of founding 
the Italian school of violin making. The model he adopted, 
with little change, was closely followed by the greatest of 
the Cremonese makers. As before stated, his violins are 
very rare. Compared with the works of the Cremona 
masters, Stradivari and Guarneri, they are ill-finished 
and crude. His varnish and wood, however, have 
commanded the admiration of the critics of thtee hun- 
dred years. It is remarkable for its rich appeariance. 

The influence of da Salo in the history of the violin is 
very great. He was the teacher of Maggini and through 
Maggini gave the world the principles of proper violin 
construction, which were perfected a hundred years later 
in Cremona. 

Gio. Paolo Maggini, Brescia, 1581-1631. Maggini 
exercised a very powerful influence in the early history of 
violin building. He found the violin in an undeveloped 
state, improved it, and left it, practically, as we have it to- 
day. He also gave us the modern viola, and violoncello. 
Through the century and a half of violin making follow- 
ing his career, the principles laid down by him — his 



1 6 Rare Old Violins. 




model, outline,^ holes and varnish are manifest in the 
work of very many of the Italian makers, noticeably in 
that of Joseph Guarnerius del Gesu. His early life is 
closed to our view; we know, however, a few facts re- 
garding his ancestry — that his father removed to Brescia, 
from Botticino,^^dt sera" "a village on the hills about one 
hour's ride from Brescia." An income tax report of 1588, 
of Zovan Maggini shows that the family settled in Bres- 
cia, his father's occupation is not given, his elder brother 
was a shoemaker, and Gio. Paolo in 1588 was a hoy of 
seven. Thus is established the fact that Gio. Paolo was 
born in 158 1. That he was a pupil of Gasparoda Salo, 
there could be no doubt, judging from his work, but this is 
proved by a document dated 1602, which shows that at 
the age of 21, he was still a pupil of da Salo's. 

An immense, undeveloped field lay before Maggini 
when at last,he quit the shopof da Salo, and started in busi- 
ness on his own account. The demand for the violin was 
growing rapidly. By the year 1620, violin orchestral 
music, had become remarkably well developed, and the 
Italians began to recognize the violin's vast superiority over 
all others, as a musical instrument, in the salon, concert 



The Brescian School, 17 

hall, and orchestra. It remained for Maggini, who received 
it in an undeveloped state from the hands of da Salo, to 
make the violin the most perfect of all musical instru- 
ments. 

The first violins of Maggini partake of the roughness 
of da Salo's work. They have the same incomplete corners, 
slovenly edges and angular ff holes, and the scrolls are 
poorly carved. The wood is usually cut on the slab, not 
only is this true of back, sides and heads, but also of the 
bellies. This is an interesting fact, worth remembering, 
as it shows the influence of the early viol, geige and cetere 
makers. At the end of this period, however, he dropped 
this mode of cutting his tops..- 

The chief differences between the work of his first and 
second period are, that in the former he rarely cut his wood 
on the slab — the tops never, he heightened the edges, in- 
serted heavier purfling, and the treatment throughout is far 
more artistic. 

There can be no doubt, but that the rising fame of the 
Cremonese makers served to stimulate the ambition of 
Maggini. The beautifully finished work of the Brothers 
Amati must have been a revelation to him. We find, 
therefore, that during the later years of his life, termed the 
third period, that he developed a very high and artistic idea 
of violin construction. 

Maggini almost invariably double purfled his instru- 
ments, there are a very few however, where he used but 
one row of purfling. He was one of the first to use corner 



1 8 Rare Old Violins. 

blocks. Owing to the limited requirements of the violin 
at the time, and the low pitch, the necessity for great 
strength did not arise ; later when the possibilities of the 
instrument became more generally appreciated, blocks 
were introduced, — these came before the linings, which 
were first made of canvas and parchment and later of 
wood. Another point of distinction is that he invariably 
beveled the under edges of the sound holes, a common 
custom of viol and lute makers. 

In accordance with the custom of the Brescian makers 
Maggini never dated his labels; he placed them near the 
centre of the instrument. Owing to the large size of the 
violins of Maggini, they are at first hard to play. They 
measure in length of body 14-1^ inches, which is -j^ of an 
inch over the usual measurement. The width of body is 
as follows: top, 6-^ inches, and across the lower portion, 
8-jSj inches. 

Although there is no record of Maggini' s death, it un- 
doubtedly occurred in 1632 or possibly as early as 163 1. 
The plague was ravaging Brescia at that time and Mag- 
gini may have been one of its victims, in which event 
the record of his death would never have been made. 
But one son. Carlo Francesco, survived him ; he was but 
six years old at the death of his father. Pietro, the other 
son, died in infancy in 16 14. 

A wondering public may well ask whence come so 
many violins purporting to have been made by Pietro 
Maggini, son of Paolo ? And worse still, the Santo Mag- 



The Brescian School. 19 

ginis, with broad grained tops, and mysterious looking, 
smutty dark brown varnish? The mere fact that Paolo 
Maggini had no son Santo, and that Pietro died in 
infancy, is of small moment with the unscrupulous 
violin forger, for the public is equally uninformed con- 
cerning either of the makers mentioned. The clover- 
leaf device and the centre-of-back device never occur 
together. They however are usually found together in 
imitations. It is stated on good authority, that not 
more than fifty instruments by Maggini now exist. 
There is not a single genuine specimen in this country. 
This may seem like a broad statement considering the 
large number of so-called Maggini that claim recognition, 
but such is our belief. 



The Cremonese School. 

The City of Cremona is located on the river Po, south- 
west of Brescia, and has attained a world-wide celebrity for 
the great violins made there during the 17th and i8th cen- 
turies. 

Its early history is much thi,e same as that of Brescia and 
other cities of Northern Italy. 

Why the violin industry should have taken such root 
in Cremona (a mere village compared with many Northern 
Italian cities), does not appear. One would think that 
Venice, Florence, or Naples, would have been its natural 
soil, or that Brescia, the nursery of the art, would have 
maintained its preeminence. 

However, the industry did take early root in Cremona. 
While Gasparo da Salo was busy in Brescia, perfecting 
the violin and introducing to the world a new instrument, 
a viol and rebec maker in Cremona, Andreas Amati, took 
up the same work. He began it probably to supply the 
demands of patrons who otherwise would have gone to 
Brescia. Thus was founded the Cremonese school of 
violin-making. 



The Cremonese School. 21 

Andrea Amati. The date of his birth is not known, 
as the church records of the time have been destroyed, but 
it is supposed to have been about 1530. Of humble par- 
entage, and practicing what was then considered a lowly art, 
he was unknown to fame even in his own land until the 
latter years of his life, when recognition came from a foreign 
land, and King Charles IX of France, that great patron of 
art, commissioned him to construct twenty-four different 
instruments for his Royal Chapel, These were destroyed 
in the French Revolution, — but one of them having an 
authentic existence to-day. 

His work was well planned and executed. He made 
violins of both large and small size, — slightly under and 
over fourteen inches in length. His wood was usually cut 
on the slab, after the Brescian custom, — his varnish, a rich 
brown, tinged with yellow. His corners are graceful and 
rather pointed, and his j^ resemble those of Gasparo da 
Salo. Very few of his violins are recorded. Thousands of 
copies of all kinds have been made, mostly with coat of 
arms and inscription on the back in imitation of the chapel 
instruments. They are defective, however, in many ways 
and are easily detected by the eye experienced in measure- 
ments, varnish, wood and workmanship. The originals 
are not very desirable as solo instruments as their tone 
while sweet is not powerful. 

Andreas Amati is said to have died about 1580. 

Antonio and Girolamo (Hicronymus) Amati^ com- 
monly known as the brothers Amati, occupy a position as 



22 Rare Old Violins. 

makers next to that of Nicolo. They were sons of An- 
drea. It is not known when they were born, but they 
worked together from 1575 to 1625. 

Their violins are justly celebrated for their beautiful 
outline and finish, and for their exquisite tone. The 
brothers knew the weak points of the violins of their 
day and with marked originality strengthened or remedied 
them. Their varnish was usually of an orange tint; 
the wood was of excellent quality for tone and appear- 
ance, and was cut on the slab, usually, after the Bres- 
cian custom. The middle bout is usually long, giving 
the instruments an elongated appearance. As a rule, 
however, their violins do not exceed thirteen and 
seven-eighths inches in length. They are easy to play, 
responding with ease, and have a very sonorous and pow- 
erful tone. 

Hieronymus died in 1640. The date of Antonios' 
death is unknown. 

Nicolo Amatf. Born, as shown by the church record 
of Cremona, September 3, 1596; died April 12, 1684. 
We now come to the consideration of one who has exer- 
cised a powerful influence in the violin world. He was the 
teacher of that king of violin-makers, Antonio Stradivari, 
and as such we have to credit him, in a large degree with 
the success Stradivari attained. He it was who origi- 
nated those wonderful violins known as the "Grand 
Amatis," from which Stradivari obtained his ideas of ar- 
tistic workmanship and finish. Nicolo was the son of 



The Cremonese School. 23 

Hieronymus Amati and worked with his father and uncle 
Antonio, finally succeeding them in business. 

Prior to 1648—50 his instruments were of a type sim- 
iliar to those of Antonio and Hieronymus, but beginning 
at that time, he departed from the style of his predeces- 
sors and gradually developed the grand pattern which has 
made him so famous. This differs from the other, in that 
it is full fourteen inches, nearly a quarter of an inch lon- 



NtcoldUi Amatus Cremortcn. Hi«roii>mi 
FiJ. ac Antonij Kepos Fecit. i6yy 



ger than the small pattern, the corners are long and the 
edges strong. He abandoned the groove near the edge, 
strengthened the character of both sound hole and scroll, 
and adopted a varnish which has been the admiration and 
wonder of all students. The great influence of Nicolo 
Amati may be appreciated when we stop to consider his 
pupils. The list includes the following of special promi- 
nence: Antonio Stradivari, Jacobus Stainer, Heinrich 
Jacobs, Cappa, Paola Albano, Paola Grancino, G. B. 
Rugeri, F. Rugeri, Andrea Guarnerius and Testore. For- 
tunately quite a number of Nicolo Amati's violins exist, 
although few of them are to be found perfectly preserved. 



24 Rare Old Violins. 

Two of the finest are in the collection of Mr. D. J. 
Partello, U. S. Consul at Sonneberg, Germany ; one of 
these was exhibited at the World's Fair, the other, known 
as the Spagnaletti, was in 1807, with our Stradivari of 
1690, in the possession of Viscount Arbuthnot, an En- 
glish nobleman. They remained in his possession for 
many years, were then separated for a lifetime, and finally 
came together again in Mr. Partello's collection, from 
whence we secured the Stradivari. 

Thousands of imitations exist which bear NicoloAma- 
ti's name, — some are easily detected; others being of a bet- 
ter grade, are by the many, either ignorant or dishonest 
makers, repairers and dealers, readily sold as genuine speci- 
mens to unsuspecting purchasers. Such an instance re- 
cently came to our notice, when a lady proudly exhibited 
to us a Kloz copy of Amati which she had purchased at 
a certain local shop for a fine Nicolo Amati, " at a great 
bargain!" As an Amati it would have been worth probably 
two thousand dollars ; as it is, being a Kloz, two hundred 
and fifty dollars would cover its value, 

Hieronymas Amati II. Born 1649, date of death not 
known. Though a son of Nicolo he does not appear to 
have made many violins, but did more in the way of repair- 
ing. 

Antonio Stradivari, <644-J737. Let us now consider 
the life of that king of luthiers, that master of Cremona, 
whose fame is as wide as the civilized world, whose name 
is known wherever the violin has a place, who, in his art, 



The Cremonese School. 25 




Antoaius Straclt«arius CremonenfiS 
paciebat Anno /^l«/^^ 



has, for two hundred years, stood peerless and alone — 
imitated by all, equaled by none — that imperial genius, 
Antonio Stradivari! 

Many a man has, in his art, excelled to such a degree 
astoappear unapproachable, yet, at his death, another has 
arisen to take his place, not to rob him of fame justly won, 
who possessing equal ability, has been awarded an equal 
place in art, in the hearts of his countrymen and of the 
world. 

But Antonio Stradivari has stood entirely alone. In 
him, it can be affirmed, was found the culmination of the 
luthier's art. How grand the conception and execution of 
his work! With what consummate skill is every detail 
carefully wrought out ; how his genius manifests itself at a 
glance ! 

Stradivari was born in Cremona, according to Fetis, in 
the year 1644, and died on December 18, 1737, at the ripe 
old age of ninety-three years. 

He was a tremendously active and industrious man, 
remaining at his bench until the very last. Among the 



26 Rare Old Violins. 

violins bought by the Count Cozio de Salabue, from 
Paola, son of Antonius Stradivari, who possessed ninety 
odd instruments left by his father, was one dated 1 736, in 
which was written, on the label, in Stradivaris' own hand- 
writing, the fact that he was then ninety-two years of age. 
Who his parents were, or what their occupation, is not 
known, nor are any of his antecedents known. He was 
born probably of humble parents, like most other violin- 
makers of his day, and undoubtedly was apprenticed at an 
early age to Nicolo Amati, who had, up to that time, 
attained the greatest renown of all the Cremonese masters. 

The years spent in his apprenticeship must have been 
pleasant ones. He was one of the many pupils under the 
same great master, and one has only to give the imagination 
an opportunity to see Stradivari at his bench in company 
with such men as Francesco Ruggeri, Jacobus Stainer, 
Cappa, and Henry Jacobs (who afterward became Amati's 
son-in-law), and to see how his genius stood forth promi- 
nently above them all ! They undoubtedly had their feuds 
— ^their Guelfs and Ghibellines, their Montagues and Cap- 
ulets, — they would not have been true Italians if they had 
not. 

There is a pretty romance associated with Stradivari at 
this time. 

It is said that the youthful, Stradivari had a very warm 
place in his heart for the daughter of Amati, but that his 
love, while it was heartily favored by Amati, probably 
because of his admiration for the brilliant qualities of the 



The Cremonese School. 27 

young man, was not reciprocated by the signorina, who 
favored more the admiring glances and devotion of a young 
Hollander who was also apprenticed to her father, — his 
name is well known in the fiddle world — Henry Jacobs. 

It is strange to think that the phlegmatic foreigner 
should have won in such a rivalry, but we suppose that it 
can be accounted for by the fact that opposite natures 
attract where similar ones repel each other. 

In a fit of pique, it is said, on July 4th, in the year 
1667 (one hundred and nine years before our Declaration 
of Independence), he married the widow of a wealthy 
vintner, Signora Capra, whose ample means later on en- 
abled him to pursue his chosen avocation from a purely 
artistic standpoint. 

He plunged into his work with the firm determination 
to excel all his predecessors, and that his belief in his 
own powers was well founded, let his fame, which will 
endure for centuries, attest. 

His earliest efforts, even in his own behalf, were made 
in the workshop of his tutor, Amati, and much of the work 
bearing Amati's name, particularly in his later instruments 
of the grand pattern, was participated in to a large extent 
by Stradivari. 

He began to work for himself about 1670, and the in- 
struments he made between that year and 1685 are known 
to connoisseurs zs "Amatesse Strads," because of their very 
strong Amati character. They are, compared with his 
later works, somewhat chunky and lacking in symmetry. 



28 Rare Old Violins. 

The wood is mostly plain. The model is much higher 
than his later ones, and by no means so graceful. About 
the year 1685 his originality began to assert itself in a 
more expressive manner, gradually developing what is 
known as the " Long Strad" pattern. 

It may be well to add here that many of the most dan- 
gerous bogus Stradivaris, and the most skillful copies, are 
represented by unreliable dealers as " Amatesse Stradivaris," 
and are given tickets, also bogus, representing the instru- 
ment to have been made between the years 1670— 1685. 
The reason for this is that the public is less informed on 
the characteristics of this period, and therefore is more 
easily deceived. An ordinarily good copy of Amati, 
touched up here and there serves the purpose very well, 
and is soon transformed in the hands of the skillful, though 
unprincipled dealer, into an "Amatesse Stradivari" clever 
enough to deceive the many, and to sell, generally by the 
aid of various pedigrees, likewise bogus, prepared by the 
skilled artisan himself, for twenty times its actual value. 
We therefore always advise our clients to adopt the plan 
of letting all "Amatesse Stradivaris," which may be 
offered them, entirely alone, if they do not want to be 
swindled. 

We now come to the most interesting period of Strad- 
ivari's career, known as the "Long Strad" period. 

The violins of this decade, 1690— 1700, are not longer 
than those of the following years, but their treatment is 
dilFerent. 



The Cremonese School. 



29 



This is noticeable chiefly in the middle bouts, edges and 
corners, which are longer and more graceful. Their entire 
contour is one of dignified beauty, — a mingling, as it were, 
of the feminine character of the work of Nicolo Amati, 
and the massive masculine treatment followed by Stradi- 
vari from 1700— 1720. 

The dimensions and adaptability of all their lines and 
curves, gives them a symmetrical appearance not found, 
in our opinion, in the violins of any other period. 

In 1684 Nicolo Amati died, leaving all his tools, 
models, and wood to Stradivari. Undoubtedly this legacy 
was a very important item to Stradivari, for Amati must 
indeed have had a large and choice stock of wood in his 
possession, accumulated during the many years of his 
career ; from this, then, Stradivari was enabled to select. 
Consequently a very marked improvement is noted in the 
beauty of his instruments after the year 1685. It was at 
this time that he received so many commissions from 
prominent personages for kits of instruments. 

Among these was a complete set for King James of 
England, a trio for His Eminence Cardinal Orsini, a com- 
plete set for the Duke of Savoy, a 'cello for the Duke 
of Modena, a complete set for King Charles of Spain, 
and lastly, in 1690, the very celebrated set ordered by 
Marquis Ariberti and presented by him to his Highness 
the Prince of Tuscany. In this set was the violin we take 
so much pleasure in placing in this catalogue, and the 
famous "Tuscan Strad," lately in the possession of Messrs. 



JO Rare Old Violins. 

Hill & Sons, London, both of the year 1690, alike in size, 
and strikingly similar in the figure of the wood and quality 
of the varnish. 

The year 1 690 marks the turning point in Stradivari's 
life, — when he forever dropped the Amati model and 
conceived in his own mind an ideal, which he followed 
carefully for ten years, and more or less during his entire 
career thereafter. It is for this reason that the two violins 
named above, occupy such an important place in the his- 
tory of Stradivari's life, particularly, as it is not known 
that he made any other violins in that year, owing, prob- 
ably, to the fact that he was busy executing orders for 
several violoncellos, violas and basses, from the Prince of 
Tuscany and others. 

Stradivari was then at the prime of life, being forty-six 
years of age, — a period from which most men begin to 
decline in vigor and ambition. 

Not so with this wonderful luthier, — for from this 
time his activity increased as the years rolled on, and the 
decade following the "Long Strad" period witnessed in 
him an unexampled development in ideas and a precision 
in execution which are simply marvelous. 

The year 1700 saw Stradivari entering what is gener- 
ally spoken of as the "Golden" period, because it is rich 
in the production of so many beautiful instruments, when 
we may say he embarked on a Pactolian stream bearing 
golden argosies of his most famous instruments. 

He had now attained the age of fifty-six years and we 



The Cremonese School. 31 

see him applying himself to his work with renewed vigor, 
— the years of experience which were his, and the pre- 
cepts which he had had before them from Amati, were 
utilized now as a basis, from which he branched out into 
a field hitherto unexplored. The treatment became more, 
masculine, as it were, bold, vigorous and above all, strik- 
ing in its originality; in place of the predominating qual- 
ity of dainty elegance characteristic of the Amati school, 
he adopted one of surpassing grandeur, — a style never 
before or since equaled by any other maker. 

It is quite useless to try to describe adequately in words 
the artistic merits of his best violins of this period. One 
who has never seen a good specimen cannot, by a descrip- 
tion, no matter bow elaborate, appreciate its merit. 

The masterful manner in which every detail, no mat- 
ter how minute, is executed in these his representative 
instruments, has been the wonder and admiration of the 
world for over a century. 

The genius of Stradivari seems all the more strik- 
ing when we regard the tone of his instruments, not only 
from an artistic, but also from a scientific standpoint. 

There is no reason to believe he ever enjoyed a techni- 
cal knowledge of acoustics, yet he achieved results which, 
in the light of modern research, are strictly correct and 
based on proper scientific principles. 

It is in the latter respect and in the invariable perfec- 
tion of his work that Stradivari's genius is most man- 
ifest. 



32 Rare Old Violins. 

The reader must bear in mind that these remarks are 
based on contemplation of the best existing specimens of 
Stradivari's work, and therefore he must not expect to see 
them verified in any worn-out, decrepit violin, he may 
chance to meet, bearing the name of Stradivari. 

By the year 1720 Stradivari had passed the zenith of 
his power. The hand so steady and skillful began to lose 
a little of its cunning and ceased to execute as accurately 
the dictates of the mind, which it had for over three score 
years so loyally obeyed. 

But nevertheless, the violins of Stradivari's latest 
period, show no falling off in any other respect. The 
wood and varnish are equally good, and the tone pos- 
sesses a quahty of its own, preferred by many to that 
of any other maker. A striking example of this period 
is a violin dated 1724, known as the "Ludwig." It be- 
longs to Mr. Partello, and was exhibited at the World's 
Fair. 

(The same gentleman has recently secured another 
violin by Stradivari, famous on account of its great tone, 
beautiful appearance, and perfect preservation. It is 
known as the "Spanish Strad," the date being 17 16. This 
we hope to have the great honor and pleasure of exhibit- 
ing when Mr. Partello again takes up his residence in 
America.) 

Stradivari was an assiduous worker, never ceasing in 
his ambition and enthusiasm from 1670 to 1737 — the date 
of his death. The violins that he made must have num- 



The Cremonese School. 23 

bered two thousand, though of this large number very few 
remain. His wealth, as shown by the records of Cre- 
mona at the time, steadily increased. Like Maggini, he 
was prudent and careful of his possessions so that at 
length, "as rich as Stradivari" became a common saying 
at Cremona, according to Fetis. 

He enjoyed the patronage of all the royal families; pre- 
lates of the church, men of wealth and culture, not alone 







of Italy, but throughout all Europe, were not only his 
clients, but in many instances his personal friends. 

According to Paolo Lombardini, Stradivari lived in 
a house purchased by him in 1680 for seven thousand 
Imperial Lire (equivalent to about ;^4,25o). This house 
was located on the west side of the Piazza Roma. His 
sons, at his death, occupied the same house, and the busi- 
ness was carried on by Francesco and Omobono Stradivari. 

Antonio Stradivari died, according to the Church reg- 
ister of Cremona, December 18, 1737, at the age of 
ninety-three years. 



34 Rare Old Violins. 

Three violins exist in which Stradivari mentioned his 
age. Two were made in 1736 and in them his age 
is given as ninety-two, and one dated 1737 in which is 
stated that it was made in his ninety-fourth year. At his 
death ninety-four instruments passed into the possession 
of his sons; among them some of the choicescever made. 

Francesco Stradivari, Cremona, 1 671-1743. Second 
son of Antonio by his first wife. He worked with his 
father, and carried on the business after his father's 
death in 1737. His style is commanding, and the tone 
of his instruments is invariably good. The model he em- 
ployed generally, is thatof Antonio's of about 1700- 171 2 
His varnish is a rich red brown. Wood of the finest qual- 
ity. He was careful to artistically finish his instruments. 



Ct*«ne«e • 7***^ Atvno H^o'' ^ • 



Omobono Stradivari. 1671-1742. Fourth child of 
Antonio by his first wife. He made but few instruments, 
confining himself chiefly to the work of repairing, at which 
he was very skillful. 

Paolo Stradivari, 1708-1776. Son of Antonio by his 
second wife. He followed the business of a cloth mer- 



The Cremonese School. 35 

chant, and is known chiefly by the fact that many of his 
father's violins and tools became his property after his 
brothers died, and that he negotiated their sale (which 
was completed by his son, Antonio), to the famous ama- 
teur and connoisseur, the Count Cozio de Salabue. 

Ansclmo, Pietro, Cremona, 1670-17 10. His work 
partakes of the Amati character, but resembles in many 
respects that of Francesco Ruggeri, especially in quality 
and appearance of varnish. 

Balestrieri, Tommasso, Cremona, 1 730-1 770. Pupil 
of Antonio Stradivari. The instruments of this maker are 
excellent in every respect, except that they lacked finish. 
He rarely was mistaken in his selection of material, his 
wood especially being invariably rich in acoustic qualities. 
His model is usually of good size and of robust, rugged 
character. Edges and corners elegant ; sound holes of 
Stradivari type, scroll rather small. 

Bergonzi, Carlo, 1715-1747. Was the best pupil 
Stradivari had, studying his art in the Golden period of 
that great master's life. 



Thomas Baleftrieri Cremonenfis 
Fecit Mantus Anno. 17, 



36 Rare Old Violins. 

Bergonzi was undoubtedly one of the four great 
Cremonese makers and his instruments are prized next 
to those of Stradivari and Joseph Guarnerius del Gesu. 

They are celebrated for their great beauty and remark- 
able tone. The latter has a character all its own, — par- 
taking of the qualities of Stradivari and Guarnerius, hav- 



^ Anno J 7 53CarToBereoii2f > 

^* :?=; ^ " ■ -^_ • ■ >. 

ing the solidity and brilliancy of the former, and the sym- 
pathetic mellowness of the latter. 

His violins are very scarce, — fewer are in existence 
than those of either of the other great makers, — in fact, 
it is much easier to procure one of his 'cellos than one of 
his violins. The former were all large and have been to a 
great extent cut down. 

His work has been largely imitated, especially by the 
French, and most of the violins reputed to be genuine 
Bergonzis, are really of French origin. 

The most characteristic features of Bergonzi's work 
are his scrolls, corners and sound holes. 

The ears of the former are of unusual length, notice- 



The Cremonese School. 37 

able rather for strength and originality, than for elegance 
of design. The sound holes are generally angular in appear- 
ance, and set low in the body of the instrument, thus giving 
it a peculiarly distinctive character. The corners are long 
and heavy. The varnish varies in color from a deep red to 
a rich amber. 

Bergfonzi, Michel Angelo, Cremona, 1722-1761. 
Son of Carlo. The work of this master resembles that of 
his father, except that it lacks the artistic finish which Carlo 
was wont to bestow on his violins. In the matter of 
wood, varnish and tone, a good specimen of this maker's 
compares very favorably with one of his father's. 

His scroll is very similar. His wood is selected for its 
acoustic quality rather than its beauty. He inherited from 
his father his tools and wood, and therefore the similarity of 
his instruments to those of his father is easily explained. 
His model is deeper and less angular, and may be said, 
in some respects, to be more graceful. 

His instruments are all of good size and are beautifully 
proportioned. His varnish is usually of an orange-red color, 
— put on rather thickly — often having a clotted appear- 
ance, presenting a very rich effect. 

The tone quality is very telling and pure, and is espe- 
cially effective in concert work. 

Betgonzi, Nicolas, Cremona, 1 760-1 795. Son of the 
above. Work inferior to that of his father. Tone of his 
instruments fairly good. 



38 Rare Old Violins. 

Cappa, Gioffoedo, Cremona, 1 585-1 645. Regarded 
as a pupil of Antonius and Hieronymus Amati. The 
violins of this maker are highly prized, especially in Eng- 
land. The workmanship is usually delicate and very sim- 
ilar to that of the Amatis. The varnish varies from a deep 
red to amber-brown. 

Ceruti, Giovanni Battista, 1750-1815. First of a 
large family of violin-makers. His model is almost always 
that of a grand Amati. Varnish varies from a deep red to 
a light amber. Scroll well cut. Tone very pleasing. 

Centti, Joseph. Son of the above. Chiefly a restorer 
of old violins. 

Cefuti, Enrico, Cremona, 1 808-1 883. The last of 
the Cremonese makers. Was learned in the traditional 
fiddle lore of his native city, and was a most excellent 
judge of Italian violins. His instruments all have merit, 
especially his violas and violoncellos. Their size varies, 
some being large and others rather small. His varnish is 
usually red tinged with yellow. 

Ficfcer, Johann Christian, Cremona. Work com- 
mon. His instruments are not Italian in quality. Poor tone. 

Guadagnini, Lorenzo, Cremona, 1690-1742. One 
of the best of the Cremonese makers. A pupil of An- 
tonio Stradivari. None of the great Italian violins have 
risen more rapidly in the estimation of players and critics 
than those of Lorenzo and Giovanni Battista Guadagnini. 
Their instruments bear the stamp of the master-hand in 
almost every detail. 



The Cremonese School. 29 

The outline of Lorenzo's violins and 'cellos is un- 
usually large and bold. He was not so careful in finishing 
his work as were most of his competitors, — pupils of 
Stradivari, but the tone and general good character of his 
violins have made his name famous and given the instru- 
ments a value approaching that of the greatest masters of 
Cremona. His instruments are dated from Cremona, 



i^LavrentiusGuadagnmi Pater, «% 
& alumnus Anton] Straduarj "f 
fecit Placentte Aruio 17^3 h^« ^ 



Piacenza and Milan. The productions of Lorenzo are 
very much sought for, especially in France and England. 

Guadagfniiu, Giovanni Battista. Son of Lorenzo, 
born at Cremona about the year 1 7 1 1, according to Count 
Cozio de Salabue. Later he went to Piacenza, the fam- 
ily's native city, where he worked for a time, afterward 
locating in Parma, where he enjoyed rpyal patronage. He 
died in Turin, as shown by the register of that city, in 
September, 1786. 

His violins are of a most artistic character. He is 
noted for his selection of beautiful wood, and his varnish 
has always been the admiration of the fiddle world. The 



40 Rare Old Violins. 



AndrcasGuarncriusf ccit Cremonae Cub 
tit ulo SanAat Tcreli ae 1 6 



instruments he made in Parma and Turin are considered 
his best. The latter have exceedingly handsome wood 
and are covered with a beautifully shaded dark red varnish. 

His model is rather flat, and varies in style from the 
Stradivari to the Guarneri type ; his scrolls are peculiar, 
and are easily distinguishable from other Italian makers. 
Guadagnini's work has been very extensively copied by 
Italian, French and English makers. He had two sons 
who followed in his footsteps, — Gaetano and Guiseppe. 

Guadag:nini> Goiseppe, i8th century. Parma, Turin 
and Pavia. His work resembles his father's. His varnish 
is rich in color and is usually well put on. He selected 
his wood with care and good judgment, and was in the 
habit of using broad grained tops. His instruments invar- 
iably have a strong, robust, mellow tone. 

Guafnerius, Andtea, Cremona, 1625-1693. Founder 
of the great family of violin-builders of that name, known 
to musical people throughout the world. He was a pupil 
of Nicolo Amati, with many other afterward famous 
luthiers^ among them Antonio Stradivari. 



The Cremonese School. 41 

His work can be regarded only as second-class ; he 
does not seem to have been of an artistic or critical nature, 
judging from the careless manner in which he was wont 
to turn out his violins. Some of them, however, possess 
an excellent quality of tone. 

Guamerius del Gesu, Joseph Antonio. The greatest 
maker of the name. Born in Cremona on the 8th 
of June, 1683. The term " del Gesu " has always been 



Jofeph Guamerius ftcit ^ 
Cremonae annTo J 7 IHS 



applied to this maker on account of the characters, 
" I. H. S." {lesu Hominum Salvator), and a Roman cross, 
which almost invariably appear on his labels. It also 
serves to distinguish him from his cousin, Joseph, son of 
Andreas. 

As regards his apprenticeship, while it is true that 
when he was a young man of seventeen, just entering 
upon his life work, Stradivari had already won great 
renown, and would naturally be regarded as his logical 
master, yet there is no actual evidence existing to prove 
this hypothesis except his work, which does in very 
many ways, particularly in the scrolls, wood and gen- 



42 Rare Old Violins. 

eral characterization of his best violins equal Stradivari's 
standard. 

His cousin, Joseph, son of Andreas, is by some authori- 
ties believed to have been his master; some eighteen or 
twenty years his senior, w^ell established and prosperous, 
what more natural than that Joseph del Gesu at the age 
mentioned, when it was necessary for him to establish 
himself, should seek the friendly guidance of a relative as 
well as a master in his chosen occupation. 

Vuillaume has divided the work of Guarnerius, very 
properly, into four periods, which differ from each other 
and are marked by the finish of his instruments, the 
modeling and wood employed in their construction. 

The instruments of his earlier years have much of the 
character of those of the great masters immediately pre- 
ceding him. The violins of the second period are of 
small pattern, very elegant in design, — slightly higher in 
the arching and beautifully developed from the edges up- 
ward. 

In the third division are included his instruments of 
large form, — grand and noble specimens of the luthier's 
art are they, — superior in varnish, wood and general 
artistic quality, to his instruments of every other period, 
and equaling the greatest works of Stradivarius. 

The last epoch, from 1735 to 1745, finds a departure 
in one or two respects from the lines followed in the pre- 
ceding period, but in these last years, let it be remem- 
bered, he fashioned some of his most famous instruments. 



The Cremonese School. 43 

notably Paganini's "Canon," now preserved and exhibited 
by the City of Genoa. 

During these years Guarnerius is erroneously supposed 
to have made what are known as the " Prison Josephs." 
The story relates how Guarnerius served a long term of 
imprisonment for a very serious crime, and that the 
goaler's daughter, becoming interested in his condition, 
had compassion upon him, and smuggled in the tools and 
materials for him to construct his instruments. 

This story, although seriously related by various Con- 
tinental writers, especially by M. Fetis, seems to us to 
be solely the product of some one's vivid imagination, or 
else maliciously invented by a gross imitator for the pur- 
pose of hoodwinking the public. 

It is necessary to have such a story to convince guUi- 
bles that Guarnerius was really the maker of the many 
countless poorly constructed fiddles that bear his name. 

The French and Italian pirates who have thus played 
on the good name of Guarnerius, and swindled the public, 
are legion. 

Any fiddle, having long angular sound holes and a 
daub of red paint to set ofF the back and top, and a thick, 
roughly carved scroll, is immediately furnished with a 
suitable label and sold for a round sum, as a " Prison 
Joseph." 

A similar story is told of the great violinist, Paganini, 
and was the source of much annoyance to him during his 
lifetime. It is needless to add that there is no foundation 



44 Rare Old Violins. 

for either story, except that both were reckless youths, — 
like many others of their day and this. 

If it be true that Guarnerius was imprisoned for a term 
of years, and depended for what material he could obtain 
upon the kindness of heart of the goaler's daughter, and 
that therefore his work was poor and totally unworthy 
the man, on what grounds could we account for the fact 
that his most celebrated instruments, both for tone and 
workmanship, were built during that alleged period of con- 
finement? 

In the light of facts, it seems altogether impossible, 
for during that time he made Paganini's famous violin 
called the " Canon," in the year 1743 (remember, he died 
in 1 745), and that grand violin, the " King Joseph," in 
1737 (spoken of by Mr. Hart as the greatest of all), 
which belonged for many years to the late Mr. Hawley, 
Hartford, Connecticut. Also that well-known one, 
looked upon by all connoisseurs as one of Guarnerius' 
greatest efforts, both as regards workmanship and tone, 
dated 1742,, now in the collection of Mr. H. E. Heath. 

Besides these might be named a dozen or more of the 
same period, all beautiful specimen's of the luthier's art, 
many as fine as Stradivari's choicest examples. It seems 
to us, therefore, folly to assume that Guarnerius was the 
drunken, worthless fellow he is pictured by some to have 
been, for he was, throughout his entire career, a most inde- 
fatigable worker, as the great number of his instruments 
attests. We have dwelt longer on this point than is war- 



The Cremonese School. 45 

ranted by our limited space, but, if by doing so we can 
correct the erroneous impression so often conveyed by 
thoughtless writers and morbidly imaginative caricaturists, 
we shall consider the time and space well spent. 

Guarnerius sought and obtained a tone differing from 
that of any of his predecessors, partaking of the qualities 
of both Stradivarius and Maggini, having the rich, bril- 
liant, telling properties of the one, and the plaintive, mel- 



Jofeph Guamerius fiiiuS Andreae fecit 
CrcmoneiubtituU S. TereS«e Ty^^ 



A.. 



-.. jeS9f*^^»*-' 



ancholy tones of the other. It is unfortunate that there 
are so few Guarnerius' in Chicago, that the public might 
not be better informed as to their extraordinary qualities. 
There are not more than two or three genuine ones, and 
no really representative specimens in this city. In the 
Eastern cities are to be found several very fine ones, espe- 
cially in Hartford, which can justly be proud of two, one 
of them one of the finest extant*; — New York has two 
and Boston and Philadelphia one each. 

Guarnerius^ Guiseppe, 1 670-1 730. Son of Andrea. 
Next to his cousin, Joseph, he was the best artist of 

*Both belonged to the late Mr. Hawley. 



4-6 Rare Old Violins. 










.^rse^ 




all of the Guarnerii. He learned his trade in the shop 
of his father, but was by nature original and artistic, and 
profited well by the atmosphere around him. 

The reader will remember that contemporary with him 
in Cremona were the greatest makers that have ever lived, 
chief of whom was Stradivari. 

Guiseppe adopted a model of graceful and elegant pro- 
portions, — slender in the middle bouts and widening 
rapidly in the lower half of the body. His edges and cor- 
ners are beautifully fashioned, and the purflinglet in with 
great skill. His varnish is usually dark, red, sometimes 
relieved by a bit of orange shade. 

He seems to have exercised exceptional judgment in 
selecting his wood, always having in mind the tone qual- 
ity. In the latter respect his violins have a character 
entirely their own. He made small sized violins as a rule, 
most of them scarcely fourteen inches in length of body. 

Very large prices are obtained in Europe for perfect 
specimens of his handiwork, and they are eagerly sought 
for by both virtuosi and dilettanti. 



The Cremonese School. 47 

Gtiameritis, Pietro, Cremona and Mantua, 1690-- 
1 730. Son of Andrea. Pietro was an artist in a very high 
sense of the term. He was even more original than his 
brother, Guiseppe, and in some respects exceeded him, 
particularly in the richness of his varnish and in the selec- 
tion of his wood. His outline is broader and more angular 
than his brother's. Particularly noticeable is the latter 
effect in his edges and sound holes. His purfling is let 
in very deeply and is splendidly wrought. His scroll is 
charming in the gracefulness of its design. 



— -^ 

Petfw Ciiaraerius GremoncnjCj fecit 
Man tttc ful>.ttfe.Sancl« Tcre/;« jrdji 



Gttameritis, Pietfo, Mantua, 1 720-1 740. Son of 
Joseph (filius Ahdrea). Work and tone good. His vio- 
lins are highly prized and much sought for. His outline 
and model partakes of the character of his father's, but is 
rather broader and higher. 

Ruggeri, Francesco, Cremona, 1660— 1720. This 
maker occupied a very important place in the history of 
violin-making in Cremona. He is said by some to have 
been a pupil of Hieronymus Amati, but Lancetti main- 
tains that he was a pupil of Nicolo Amati. 



48 Rare Old Violins. 

However that may have been it is now a matter of lit- 
tle import. We know that he was a pupil of one of the 
Amati and that throughout his life he adhered closely to 
the outline and model of that family. His wood is usually 
of great beauty, and very often is cut with the grain, 
forming what are known as slab backs. 

His outline bears closer resemblance to that of Hier- 
onymus Amati than to that of Nicolo, It is very grace- 



Francefco Ruger dietto if Per 
Cremona Ji^a>- 



ful, rather long and slender in appearance because of the 
extended middle bouts. 

While always possessing rare quality of tone, they 
almost invariably are disappointing in point of tone- 
volume. 

His varnish is very beautiful and is rarely equaled. His 
sound holes are always dainty and well suited to the needs 
of the instrument. 

Ruggeri, Giacinto, Cremona. Son of the above. 
Worked from 1690— 1720. 

Rxiggeti, Vinccnzo, Cremona, 1 695-1 737, 



The Cremonese School. 49 

RugfSferi, Giambattista, commonly called G. B. Rug- 
geri, to distinguish him from the family of which Fran- 
cesco was the head, and to which he was not related. 

He worked with Nicolo Amati at the same time as 
Antonio Stradivari. 

His instruments are very elegant in their outline and 
model, and their tone is better than that of Francesco Rug- 
geri. His varnish varies from a red to a dark red and brown, 
shaded, and is of fine quality. He was an exceptional judge 
of tone wood and the proper thicknesses to employ, which, 
no doubt, accounts for the rich, powerful tone of his 
violins. 

Rugfgferi, Giovanni Battista. Worked at Brescia and 
Cremona. He was a good maker, well up to the average . 
of his name. 

His model is high, his varnish is sometimes a light opal 
amber color and again a brown shade. 

He used various kinds of woods, mostly maple back 
and sides, but sometimes he employed ash, and these in- 
struments have a good strong tone. 

His scroll is well carved but rather small. 



lo-.Bap RogeriusBon-'NiccIai Amatide Cremo- 
na alumnus or/xja fecit Anno Domini fiy\ 



50 Rare Old Violins. 

Storioni, Lorenzo, Cremona, 1 760-1800. Qyite a 
number of makers thrived in Cremona after Storioni's 
time, but he is considered the last of the great galaxy of 
violin builders who belonged to the Cremonese school. 
The violins of Cremona all have a something which dis- 
tinguishes them from those of Venice or Florence, just as 
the violins of Naples, in common with all the other schools, 
have a character which is immediately recognized by the 
practiced eye. The makers who came after Storioni did 



Laufentius 5loriojii fecit- 
Gremonae 17^/* 



»o/ possess this ww^^Aw^ which would serve to identify them 
with the earlier makers. For this reason Storioni is said to 
have been the last of the Cremonese school. His work, in 
technical execution is not up to the grade of many ot the 
makers who lived before him, yet it possessed great origi- 
nality and decided character. He was always careful to 
secure good wood, but was not particular as to its appear- 
ance. The tone of his instruments is invariably of good 
solid quality, — resonant and of splendid carrying capacity, 
and therefore his violins are very much admired by artists. 
His varnish is usually of a light shade, sometimes it 
is light amber, and again several shades darker. 



Donunieui ^dpnta«na}la. Sab Si- 
gnum Cremonae VenetiU j^x^. 



The Venetian School. 

In Venice, — that Wonder City, the home of the 
Doges, — so rich in literature, art and science, — the mak- 
ing of musical instruments, of the violin family, was begun 
at an early period. 

Violoncellos and violins were undoubtedly produced 
prior to the year i675,but violin-making did not obtain any 
decided prominence there until well into the early years of 
the following century. 

There must have been a large demand for violins from 
a people so reiined and musical as the Venetians, and the 
demand was undoubtedly supplied for the most part, from 
Cremona, a city not far distant. The result of this de- 
mand was that some of the greatest of Cremonese makers 
changed their habitat and sought wealth and fame in the 
broader field offered by Venice, the golden. 

Montagfnana, Dominico,Cremona and Venice, 1690- 
1 740. This maker was one of the greatest and most noted 
of the Italian masters. 

The late Mr. Charles Reade, an able violin connois- 
seur, in his " Readiani," gives some very interesting letters 
on the subject. Mr. Reade has rightly designated Mon- 

51 



52 Rare Old Violins. 

tagnana, the " mighty Venetian," on account not only of 
his wonderful varnish, but also of his artistic workman- 
ship. 

Montagnana was a pupil of Antonio Stradivari during 
his best period, and with Carlo Bergonzi, shares the dis- 
tinction of having been the most intelligent and capable of 
any of Stradivari's apprentices. 

Montagnana, soon after quitting the workshop of 
Stradivari, established himself in Venice, where he at once 
assumed the foremost place in his profession. 

His varnish possesses a velvety, rich character, un- 
equaled except by that of Stradivari and Jos. Guarnerius 
del Gesu. It has been the wonder of connoisseurs for a 
century. His violins are of large, noble proportion, very 
symmetrical and evidently executed by a master hand. 

Seraphino^ Santo.* This exquisite artist was born 
about 1687 in Udine, a small city in the province of 
Venetia, and flourished as a luthier from 1710— 1748. 

In pure technical ability Seraphino was the worthy 
rival of any of the great Italian makers. 

His instruments are all of great beauty. His selection 
of wood was most fortunate and his varnish is of surpass- 
ing richness. 

His model is usually high, similar to that of Amati and 
Stainer. The tone is of most delicate quality, but is lack- 
ing in power. His violins are very rare and but few are to 
be found in this country. 

'I'See label, page 5. 



The Venetian School. 53 

Goffrieler^Mattheus, Venice, 1700-1750. A maker 
who stands very high in the estimation of violin experts. 
His work was usually of the A. & H. Amati type. He 
does not seem to have made many instruments, and 
rarely put labels in them. His varnish is of a deep 
orange color and very rich. 

Gobettf, Frandscot Venice, 1680-1720. Said to 
have been a pupil of Stradivari, but we think without 
good authority. His violins are usually of a high build 
and short corners, but good in tone. 

Barnia, Fidele, Venice, 1 760-1 780. Good work; 
light colored varnish. 

Belosio, Anselmo, Venice, 1 720-1 780. Pupil of 
Santo Seraphino. 

Castro, Valentin, Venice, 1690-1720. 

Andrea, Petro, Venice, 1 700-1 740. 



i Fer jinandus Gagliano Fili"^ 

Nicolai fecit Neaf. 17 



The Neapolitan School. 

Naples was the seat of a very important violin-making 
industry during the i8th century, which, in point of quan- 
tity of violins produced, probably ranks next to Cremona. 

While, however, a few of the Neopolitan makers made 
really fine instruments, the majority were inferior in point 
of varnish and workmanship to those of either Brescia, Cre- 
mona, Venice or Florence, — yet, notwithstanding their 
lack of elegance of finish, they possess, as a rule, excell- 
ent tone. 

Gagfliano, AUessandra, 1650-1730. Was the greatest 
of the Neapolitan makers, and was the founder of the 
Gagliano family, which has exerted a great influence in 
the history of the violin, from the great number of high 
class instruments they produced. 

He was a pupil of Stradivari and immediately after 
completing his apprenticeship, removed to Naples, realiz- 
ing no doubt, the advantage of establishing himself in an 
unoccupied field, where he would not have to compete, 
as in Cremona, with the greatest makers of the period. 

54 



The Neapolitan School. 55 

His pattern is usually large and his model flat. His 
wood is of excellent quality, and his varnish, while not 
having the lustrous soft appearance of the Cremonese, is 
of very fine quality and is mostly of an orange-yellow color. 

Having once mastered this characteristic the reader 
can never mistake a Gagliano violin. 

Mr. Fleming, in his book, gives some very interesting 
stories of Allessandro's early life, — particularly of the duel 
for which he had very abruptly to leave Naples for Cre- 
mona. 

Gagliano, Nicolo, 169 5- 1740. This maker may easily 
rank with his father, AUessandro, for the excellence and 
beauty of his violins. 

His model is higher and more rounded, his varnish of 
a rich orange color; very often he decorated his violins 
with an ornamental line of purfling. 

The striking peculiarity of nearly all Gagliano violins, 
except Allesandro's, is their scrolls, which are invariably 
small and chunky. 

Their tone is rich and telling and of excellent quality. 
Gagliano, Gcnnaro, 1 698-1 750. This maker, com- 
monly known as 'Jannarius Gagliano^ was one of the most 
careful and intelligent of the family of Gagliano. Some 
of his instruments approach true greatness, and his var- 
nish in many instances is of an extraordinary quality. 
The varnish of many of his best instruments, especially 
violins, is of a deep red color, otherwise as rule it is of the 
usual yellow or orange shade. 



56 Rare Old Violins. 

His selection of wood was good, and his model, while 
varying, will usually be found to be formed on the correct 
basis. His scrolls have the invariable Gagliano character. 

GaglJano, Ferdinando, Naples. Son of Nicolo. A 
very prolific workman. His violins have good tone, and 
are much sought for by musicians on account of their un- 
usually good carrying power. 



Januarius Gagliano. Filiws 
Alexandri fecit Neap. 17^-^- 



His varnish is almost always yellow in color, some- 
times rather dark, nearly a brown. 

His work varies, — he seems to have made two grades, 
to suit the requirements of his patrons. His best instru- 
ments are very well made ; his model is well adapted for 
tone production, and he employed plenty of wood, so that 
few of them can be said to be weak in this respect. 

His violoncellos are especially good and are very much 
appreciated by 'cellists. 

Ga^fliano^ Gaiseppe and Antonio^ Naples. These 
makers, the brothers of Ferdinando, made many violins. 
Their model varies, and is somewha-t different from those 



The Neapolitan School. 57 

of the preceding members of the Gagliano family. It is 
flatter and hollowed out around the edges, something after 
the style of Nicolo Amati. The varnish is dark brown as 
a rule. 

Eberfe, Tomasso, Naples, 1 740-1 780. 

A maker of great merit, and though little known in 
this country because of the scarcity of his violins, is highly 
esteemed abroad, and takes rank with the best of the 
Gaglianos. 

Some of his violins show a remarkable knowledge of 
the art of violin construction and are beautifully varnished 
with an orange red varnish which is more like the Cre- 
monese than that used by the Gaglianos. 

A fine specimen is in the possession of Mr. Briggs, of 
Glasgow. 

Filane, Donate, Naples, 1770 1800. High models; 
good work. 

Gerani, N., 1 790-1 830. Fair work; yellow varnish. 




Florence, Milan, Padua, Mo- 
dena, Mantua, Bologna, 
Turin, Saluzzo and Rome. 

We group the luthiers of the above cities together, 
because neither city was identified with any one par- 
ticular style. They were more or less alike, differing 
in some ways from one another, but always preserving 
the characteristics of the more important schools of 
violin-making, the reason being that the artisans who 
worked there were originally from either Brescia, Cre- 
mona or Naples, simply following their trade as they 
learned it in the shops of their masters. The best violins 
of Florence and Milan, as well as Modena and Mantua, 
rank high for their excellent workmanship and tone. 
Considered from the technical standpoint of workman- 
ship, many of them are scarcely surpassed by the Cre- 
monese masterpieces. 

58 



Florence, Milan, Padua, Modena, etc. 59 

Camilli, Camillus, Mantua, 1 700-1 740. Was a 
maker of great merit. The models employed by him were 
either Amati or Stradivari. He employed excellent wood 
and his varnish is first-class. The tone of his instruments 
is especially mellow. 

Cappa, Joffridus, Saluzzo. A pupil of Antonio and 
Hieronymus Amati, whose violins are highly prized. His 
model is small, after the Amati style, varnish sometimes 
a rich red and at others a pale amber color. 

Carcassi, Tomasso, Florence, 1 740-1 770. A maker 
who seems to have been very industrious, judging from 
the number of his instruments. Model usually of Amati 
character ; varnish pale, transparent, yellow, sometimes 
tinged with red. Tone responsive and telling. 

Duiffopmg;car, Caspar, Bologna, 1500-1550. A 
lute-maker of early date, concerning whom there is a most 
remarkable public misconception. The idea, popular with 
many, that he was the first maker of violins, has not the 
least shadow of authenticity. He died fifty years before 
the first music for the violin was written. 

When the merits of old violins began to attract pop- 
ular attention, about the beginning of this century, many 
French makers of the day turned their attention to imitat- 
ing the old masters. This was not confined alone to the 
obscure .workmen, but the greatest of the French school 
deemed it not below their dignity, — such men as Silvestre, 
Chanot, Gand, Bernardel, and Vuillaume, all gave the sub- 
ject their serious consideration, the consequence being 



6o Rare Old Violins. 

that many most excellent instruments were made, although 
put forth under false labels. But the vast majority of the 
violins bearing the name Duiffbprugcar, with elaborately 
ornamented backs and sides, inlaid pictures of castles, 
Latin inscriptions, etc., are, from the standpoint of the 
critic^ merely trash. They were conceived in the fanciful 
imaginations of their makers, whose object it was to mys- 
tify and deceive a credulous public. 

We believe as many as a hundred have come under 
our observation, of which at least a score had beEn sold 
by dealers, either ignorant of their business, therefore in a 
measure excusable, or if not ignorant then deceitful, who 
represented them as genuine Caspar DuifFoprugcars, made 
in Bologna, in the early part of the 1 6th century, when as 
a matter of fact all of them were French instruments made 
between the years i8oo-'40. No violins by this maker 
are on record, and in all probability the idea of making one 
never entered his head, notwithstanding the contentions of 
certain theoretical writers, notably, Mr. Neiderheitmann. 

Gabrielli, Giovanni Battista, Florence, 1 740-1 780. 
The instruments of this maker vary greatly. His best 
work is of a very high and artistic nature. Judged by 
these, he was a very careful and painstaking workman, 
using excellent wood, a moderately well developed model 
and a good varnish. The tone of such instruments is in- 
variably excellent. Instruments of this class are rare and 
command fancy prices. The best specimen we have seen 
by him is at present m a collection at Syracuse, N. Y. 



Florence, Milan, Padua, Modena, etc. 6i 

Gragnani, Antonio, Leghorn, 1 740-1 780. Good 
tone, 

Grancino,PaoIa, Milan, 1665-1685. In many respects 
a great maker. A pupil of Nicolo Amati, using that mas- 
ter's model and a light varnish. 

Gtancino, Giovanni Paola, Milan, 1690-1735. Son 
of the above. Best of the Grancino family. Handsome 
wood, model of excellent proportions, varnish excellent. 
Tone invariably good if properly adjusted. 

Landolfi, Carlo Fran, Milan, 1 730-1 770. This 
luthier made some excellent violins. His model varies ; 
it is sometimes broad and flat and sometimes rounded. He 
employed fine wood and his varnish is of a good quality 
and well applied. 

Panormo,Vincent, Palermo, Paris and London, 1735- 
18 10. He seems to have been of a roving disposition. As 
a maker he takes high rank. His London violins, made 
during the latter years of his life, are his best, as they evi- 
dence riper judgment and more careful execution. 

His wood is of the best, selected for acoustic proper- 
ties and appearance, his varnish varies from a deep red to 
an amber yellow. The tone has a quality peculiar to itself. 
His violins are highly prized by connoisseurs and players, 
by the latter for the heavy, strong character of their tone. 
They have plenty of wood and are strong and serviceable. 
His work is much like Lupot's, with whom he shared 
equal honors as a copyist of Stradivari. 



62 Rare Old Violins. 

Pressenda, Giovanni Francesco, Turin. Born 1777. 

Pressenda may be considered the greatest Italian 
maker of this century, and he richly deserves all the praise 
bestowed on his work. He lived when the art of violin- 
making had descended to a very low ebb in Italy, but he 
was of too artistic a nature to be affected by the tendency 
of his fellow Italian workmen. He was a pupil of Lorenzo 
Storioni, of Cremona, who may be credited with being 
responsible to a large degree for the success Pressenda 
afterward attained. He copied Stradivari and Jos. Guar- 
nerius. His instruments are mostly of large size, flat 
model, beautifully varnished and constructed of the finest 
kind of wood. 

Pedrinelli, Antonio, Crespano. Born about 1780, died 
in the year 1854. This maker to a marked degree main- 
tained the reputation of the Italian makers during the fore 
part of the present century. His violins have sterling tone 
qualities, — not only that, but they are well made and var- 
nished. He was very careful in the selection of his wood, 
and his measurements show that he had a deep knowledge 
of acoustic properties as related to his art. 

Varnish usually a medium orange red. 

Rocca, Joseph Antonio, 1830-1865. Apupilof Pres- 
senda and a maker of marked ability. His varnish is light 
and thin, wood good. 

Testore, Carlo Guiscppc, Milan, 1680-1715. The 
family of Testore played a very important part in the 
violin-making industry of Milan. 



Florence, Milan, Padua, Modena, etc. 63 

They were favored with royal patronage and the in- 
struments made to the order of their distinguished patrons 
are exceptional in wood, model, varnish and workmanship. 

Carlo employed largely the model of Jos. Guarnerius 
del Gesu, His wood, sometimes plain, is invariably good 
for tone and his varnish always of fine quality. His 'cellos 
are considered his best instruments. 

Testore, Carlo Antonio, Milan, 17 15-1745. Son of 
the above. His work is similar to his father's. His var- 



CarJo Antonio Teftore figlio maggiore 
cf el f u Carlo Giufe ppe m Contrada Jar- ^ 
gaal fegno dell'Aauila Milan 1741^^^' 



nish is of a brown color. He employed good wood and 
obtained excellent tone. He followed the Amati, Stradi- 
vari and Guarnerius models. 

Testore, Paola Antonio, Milan, 1 720-1 745. His 
work is similar to that of Carlo Antonio. His varnish is 
usually a yellow shade and his model rather high — wood 
good. 

Tononi, Felice and Guido, Bologna. Celebrated for 
their beautiful 'cellos. 

Tononi, Carlo, Bologna. A maker who fashioned 
beautiful violins. His varnish is of a very rich descrip- 



64 Rare Old Violins. 

tion. His wood is always good and tone of fine quality. 
Model large and well proportioned. 

Tononi^Giovanniy Bologna. Son of Felice. His violins 
and 'cellos are especially good and much sought by players 
because of their mellow tone. His varnish is usually of 
a pale color, and his wood of fine quality. 

Tononi, Carlo Antonio, Bologna. Son of Carlo, 
1715— 1745. A very clever workman who made fine vio- 
lins. His model is large and well developed in all respects. 
His varnish is of a very fine quality, varying from a deep 
red to a light orange. His tone is beautiful in character, — 
resonant and mellow. 

Tecchler, David, Rome. A very good maker. Born 
in Salzburg about 1660. Model large and massive, 
strong edges and corners, varnish usually a golden yel- 
low or red. 

Lanoli, Giocomo, Verona, 1 720-1 740. 






L. 



In La Belle France. 

The artistic taste and inborn refinement of the French 
would naturally place them among the leading makers of 
that most artistic of instruments, the violin, and so we are 
not surprised to find that they were early in the field 
with such makers as Tywersus of Nancy, a maker of 
viols in the i6th century (i6me siecle) of whom noth- 
ing is known, and Nicolas Medard, about the same 
time at Paris. The French makers took as their models 
the instruments of Brescia and Cremona, and unlike the 
English, they did not wander off after false gods in the 
form of the German maker, Stainer, and his followers. 
Instead their artistic perceptions showed them that the 
Italian model was most artistic in appearance and in tone, 
and they had good sense enough to follow that model up 
to the present time. Of the earlier French makers, but 
few other than the two already mentioned, have turned 
out instruments better than a fair medium quality. Mak- 
ers such as Pierray, Boquay, Dumesnil and some others 
were quite happy in their varnish, which resembled closely 
that of the Venetians, although they did not turn out 
work of one uniform quality in this respect. Easily first 

65 



66 Rare Old Violins. 

among the French makers stands Nicholas Lupot, who 
not only leads this school, but is regarded by eminent 
judges as one of the few really great artists in his chosen 
field. Of the Neo-French school, Ambroise De Comble 
was the first and one of the best. An apprentice of 
Stradivari, he studied carefully the form and varnish of 
that master, and his contemporaries were quick to per- 
ceive the superiority of his work and follow in his foot- 
steps. Among these were F. L. Pique, F. Gand, Silvestre, 
and Bernardel, whose work was of the better grade, some 
of it, indeed, showing truly great merit. Of the modern 
French makers Vuillaume, Chanot, Germain-Salle, and a 
few of lesser note, make up the list of French worthies 
who made violins that were of the class destined to live 
and perpetuate their names. The success of the whole- 
sale fiddle factories has driven most of the artistic work- 
men to the wall and it now looks very much as if the 
gentle art of violin-making, to paraphrase Izak Walton, 
were devoured, as after all it is a matter of bread and butter 
with the artistic workman, and if he finds that he has to 
turn out work in quantity, regardless almost of quality, 
in order to make a living, he bids adieu to his taste and 
his dreams of Stradivari fade into thin air. 



Nicolas Lupot. Luthicr rue Croix 
Jespetiu -Champs, a Paris, Tan 



The French Workmen. 

Aldric, Paris, 1 790-1844. Was a good copyist of 
Stradivari and used a fine quality of red varnish. 

Augfiere, Paris, 18 19. Worked under Clement and 
was a partner of Calot. His instruments virere considered 
well made. 

Bernardel, SebastJen Phillipi, Mirecourt, 181 2. 
Worked under Lupot at Paris. He was fortunate in select- 
ing his wood and was a careful, conscientious workman. 

Bertrand, Nicholas, Paris, 1710. A viol-maker of 
renown, and used a very good varnish. 

Boquay, Jacques, Paris, 17 — . A leader of the 
early French school. His varnish was very like that of 
Cremona — dark brown and quite transparent. Most of 
his instruments were small and he copied the model of 
Girolamo Amati with fair results. 

BouIIangier, C, Paris and London, igth century. Is 
regarded as a workman of more than average ability. 

Bourdet, Sebastien, Mirecourt. One of the pioneers 
of the place. 

Champioiv Rene, Paris, 1735. A good, artistic work- 
man. He used varnish of a superior kind. 

67 



68 Rare Old Violins. 

Chanot, Francois, Mirecourt, 1 788. An engineer who 
became interested in violin-making as a scientific study. 
He made an instrument for Viotti and is said to have 
given Savart the ideas on which he based his experi- 
ments. 

Chanot, Georges, Mirecourt and Paris, 1801-1883. 
A brother of Fran9ois. He copied Stradivari and Guar- 
neri faithfully and well. He was a prolific worker, but 
also produced instruments of very good quality, both as to 
tone and appearance. He used good wood and varnish of 
a fair quality. 

Chappoy, Nicholas-Augostine, Paris, 1765. Was 
somewhat erratic in his work, sometimes producing really 
good violins and again violins of inferior quality. His 
pattern was large. It is said that M. Habeneck used a 
Chappuy violin in his class work at the Paris Conserva- 
toire. 

Claudot, Charles, Mirecourt. Made good serviceable 
orchestral instruments, but for solo purposes the work- 
manship is too heavy. 

Qaudot, Augastin, Paris. Used a yellow varnish and 
wood of superior quality. Copied Stradivari to good effect. 

DeComble, ALmbroise, Tournay, 1760. A pupil of 
A. Stradivari. His work is modelled on that of the great 
Italian, but is much rougher in finish. Varnish is a rich 
red and resembles the Cremona varnish very much. The 
tone is full and mellow, and everything considered the 
instruments are decidedly interesting. 



The French Workmen. 69 



GAND Luthier eiave de H/F07'. 

PARIS 



JictuzeYf , Mirecourt. Was a careful workman, 

but did not use good varnish ; also there is too much 
wood in his instruments. 

Despons, Antoine, Paris, 16 — . Was considered a 
very good maker in his day. 

Falaise^ , 1780. This maker used good wood 

and varnish. Followed the Amati and Stradivari models 
with very good results. 

Fendt, Paris, 1 780. Was of the same family as 

the London makers of that name, and his instruments 
were well liked by the French. 

Gand, Francois^ Paris, 1802— 1845. Was a pupil of 
N. Lupot and is more famous as a repairer and restorer 
of old instruments, than as an original maker. He was 
a thoroughly conscientious workman and spared no pains 
or time in his work of repairing the instruments of the 
old masters. His own instruments were rather heavy 
but improve with age. He married the daughter of his 
master, Lupot, and succeeded him in business in 1824 
in the Rue Croix des Petits Champs. 



70 Rare Old Violins. 

Gand^ Adolplie^ Paris. Son of the above. Worked 
under his father, and later succeeded him in business. 

Gand, Eugene, Paris. Son of Francois Gand. Was 
a partner in the business with Adolphe and on the death 
of the latter, he with the Bernadel Brothers founded the 
house of Gand & Bernadel. He enjoyed a high reputa- 
tion as a connoisseur. He died in March, 1895. 

Gavinies, Francois, Paris, 1734. Belonged to the old 
French school, and both his wood and varnish were of 
excellent quality. Pierre, his son, was a famous violinist. 

Germain, Joseph Louis, Mirecourt, 1 822-1 870. 
He worked under Francois Gand and Vuillaume at Paris 
and for the latter made some very good instruments. 

Germain, Emile. Son of Joseph Louis. Is still living 
at Paris and has gained a reputation both as a maker and 
repairer of violins. 

Guersan, Louis, Paris, 1766. Was a pupil of Claude 
Pierray, to whose business he succeeded. 

Henry, Jean Baptiste, Mirecourt and Paris, 1757. 
Founder of the family of that name, all excellent work- 
men. 

Henry, Jean Baptiste Felix, Paris, 17 — . His son. 

Henry, Charles, Paris, 1803. His second son. Charles 
also had a son, Eugene, and a nephew. Octave, all of them 
worked at Paris. 

Jacquot, Charles, Mirecourt, 1808. Was awarded 
prizes at the Paris and other Expositions for his instru- 
ments. 



The French Workmen. 71 

Jeandel, P. N., Paris, 1812. A capable maker; he 
was the recipient of prizes at the Paris Exposition. 

Laprcvottc, Etiennc, Paris, 1825. Was appointed 
violin-maker to the Duke of Bordeaux. 

Lapot, Francois, Plombieres, 1736. Was a son of 
Laurent Lupot of Mirecourt (1696). He was appointed 
violin-maker to the Duke of Wurtemberg at Stuttgart. 
Later he and his son Nicolas moved to Orleans, thence 
to Paris, where he died in 1 804. His instruments were 
well-made, but his fame rests on the fact that he was the 
master of his talented son Nicolas. 



N. LUPOT Fils . Luthiet 
rued'IlliMS , a. Orleans, I'Aa 
» j; 



Lopot, Nicolas, Paris. Bori^ in Stuttgart, in 1758. 
Died in Paris 1824. He was the son of Fran9ois. In 
the year 1770 the family moved to Orleans, where he 
worked with his father until about 1780, when he estab- 
lished himself in business on his own account. Some of 
his violins made between 1780— '90 are very fine indeed, 
although they do not show the mature judgment of those 
of his best period. In the spring of 1794 he moved to 



72 Rare Old Violins. 

Paris, to compete with old established makers, and not- 
withstanding the extreme excitement and unrest of the 
times, he soon made a name for himself there and shortly 
was recognized as the foremost maker of the day. Nicolas 
Lupot was a great artist in every sense, — he was even 
more than that, he was a genius, who stands so high above 
his countrymen as fitly to be designated the French Stradi- 
vari. Barring varnish, his work takes rank with the best 
of Cremona. No part is weak or less developed than other 



SricoldS Lupot Luthiei' rue de 
Crrammont • a Paris Tan/Sai 



portions, — but all is a harmonious whole. Lupot's pre- 
eminence was recognized in, his own day, but it is only 
within the last twenty-five years that the demand for 
violins of his make became so general that the supply has 
been exceeded many hundred times by the demand, and 
prices have risen accordingly. As it is today they are 
sought by artists of all degrees, and no connoisseur's collec- 
tion is complete without one or two representative speci- 
mens. 

The period of Lupot's work between the years 
1780-1800 may be compared to Stradivari's "Long" 



The French Workmen. 73 

period of 1685— 1700. The treatment is quite alike in 
both cases, there being less boldness and ruggedness of 
design, than in the years immediately following. 

During the period from 1800— 18 14 Lupot adopted 
a model slightly broader and flatter than that of the pre- 
ceding years. He made his edges stronger and his cor- 
ners less rounding. In all this he followed carefully in 
the steps of Stradivari, whom he looked up to, as the 
one to be copied. Lupot, difFering from most of the 
French makers of his day, labelled his work with his 
own name, and varnished them with a solid color of 
either dark red, orange red, or pale orange red, which 
with natural wear has become very beautiful. The 
quality of his varnish is far better than that used by his 
competitors; it does not equal that of Cremona, how- 
ever, but has a place between the two. Lupot very 
seldom departed from the Strad. model, a few he made, 
however, of the Guarnerius and Maggini types, possi- 
bly because they were ordered by patrons. He selected 
his wood with greatest care. We do not know of an 
instance where the wood is any other than good. He 
was partial to spruce tops of medium grain — not too fine, 
neither too broad. The tone of his instruments is of a 
very telling kind. It is peculiar to itself, — unlike that 
of any other maker. There are many fine specimens in 
this country. We have had the satisfaction of handling 
about fifteen fine ones in the last five years and know of 
as many more in the hands of private parties. 



74 Rare Old Violins. 

Marquis de Lair, d'Oisea«,Mirecourt. Made what 
might be termed "commercial violins," in the early part of 
this century. He modeled them on Stradivari's work, but 
they were of common appearance and poor tone quality. 
Mast, Jean Laurent, Paris, 1750. His instruments 
were well made. Dark red varnish. 

Mast, , Toulouse, 1 8th century. A son of J. L. 

Mast. He served his apprenticeship to Nicolas of Mire- 
court and made instruments in the style of that maker. 
He used two kinds of varnish, one a yellow, the other a 
red, like that of the old Italian makers. 

Maucotel, Charles Adolphe. Born at Mirecourt, 
1820, he died at Paris in 1858. He worked under J. B. 
Vuillaume at first, but later established himself in 1844 
in the Arcade Vincenne. He was one of the best of the 
modern French makers and did not confine himself to the 
violin alone, but was equally successful in his altos and 
violoncellos, which rank with the best instruments of his 
time. 

Medard, Francois, Paris, during the latter part of the 
17th century. He furnished instruments for the Chapel 
of Louis XVL His work was well done, but his model 
was rather small and in the style of N. Amati. Varnish 
very good. 

Medard, Nicolas and Toussaint. Brothers of Fran- 
9ois. They worked at both Nancy and Paris. 

Mennegfand, Charles, Nancy, 1822. He worked at 
Mirecourt and later at Paris under Rambaux. He was 



The French Workmen. 75 

a workman who displayed marked ability, particularly as 
a repairer and restorer of the instruments of the old mas- 
ters. 

Miremont, Qaade Aogustin, Mirecourt, 1827. At 
first he worked under his father, later under Colin-Mezin. 
He also worked for Lafleur and Bernardel at Paris. He 
established himself in New York in 1852, remaining 
there until 1861, when he returned to Paris. He was a 
clever workman, his instruments are distinguished for 
their excellent appearance and good tone. He was 
awarded medals of the first class at New York in 1853 ; 
at Paris in 1855, and at London in 1862. 

Namy. This maker opened a shop in Paris in 1788 
in the Place du Louvre and was renowned for his restora- 
tion of old instruments. He made an exhaustive study 
of the great Italian makers, and his work on the old in- 
struments sent to him for repairs, was really a labor of 
love. The Abbe Sibire speaks of his ability in the highest 
terms. 

Nicolas. Known also by the name Fran9ois Nicolas 
— Fourrier. Born at Mirecourt October 5, 1758, he 
worked at Paris from 1784 until his death in 1816. He 
was maker to the chapel of the Emperor Napoleon the 
First, and his instruments are highly esteemed. 

Nicolas, Didief, the eldest, surnamed " Le Sonad," 
born at Mirecourt in 1757; died at Paris in 1833. 
He took for his motto "To the City of Cremona." 
Didier Nicolas, was a violin-maker whose work was highly 



76 Rare Old Violins. 

esteemed. He was awarded a silver medal at an industrial 
exposition held at Paris in 1 806 and the violin which won 
the medal is played to-day by his great-grandson. His var- 
nish is a red-brown. 

Nicolas^ Joseph, son of Didier. Born at Mirecourtin 
1796. Died in 1864. 

Oovrard, Jean> Paris^ 1743. Pupil of Claude Pierray. 

Pacherle, Michel, Paris, 1 749. Ordinary quality. Yel- 
low varnish. 



JACQUES BOQUAY 

RUE DARGENTEUIL 
A PARIS , /7 



Pacheflc,Pierre,Mirecourt, 1803. Died at Nice 1871. 
This maker worked at Nice, Genoa and Turin and was at 
one time a fellow-worker with J. B. Vuillaume. He was a 
very prolific workman and did not confine himself to vio- 
lin-making only, but excelled also as a maker of altos and 
violoncellos. His varnish was his weak point. It was lus- 
terless and put on to too thickly. 

Paquotte, A well-known family of luthiers. The first 
was Seba^tien, born at Mirecourt in 1800 ; died in 1863. 
His nephew, Jean Baptiste Paquott, continued the busi- 



The French Workmen. 77 

ness. J, B. was a pupil also of Lafleur and his experience 
placed him among the best of the modern French makers. 
His two sons, Henri and Placide, succeeded him in 1888. 

Pietray, Qaude, Paris, about 17 14. His instruments 
are generally in the style of Amati and are of large pattern. 
He was not fortunate in selecting his wood. Varnish is 
light red and pleasing in appearance. 

Pique, F, L., Paris, about 1788 to 1815. His instru- 
ments have a good reputation, and no less an authority 
than Louis Spohr has pronounced them the best of that 
period. 

Pirot, Qaude, Paris, about 1803. Was a close student 
of the best Italian makers. His model is well designed, par- 
ticularly as regard the angles and the sound holes. The 
arches of back and belly are a trifle too pronounced. He 
used a red-brown varnish of heavy quality. 

Pons, Cesar, Grenoble, 1 8th century. 

Quinot, Jacques, Paris, 1670. 

Rambaux, Claude Victor, Darney, 1 806. He was a 
pupil of L. Moitessier, and later worked at the shop of 
Thibout at Caen. Under Gand at Paris, he finished his 
apprenticeship. He was an excellent maker of violins and 
'cellos and was regarded in his day as an authority on the 
works of the old Italian masters. A great number of these 
were sent to him for repair and restoration and he exer- 
cised wonderful judgment and cleverness in his work. 

Raut,Jean, Rennes, 1790. 

Remy, . Established at Paris about 1760. 



78 Rare Old Violins. 

Remy,Jean-Mathorin, 1770. Son of the above. 

Remy Jules, Paris, 1 8 1 3 . 

Renaadin, Leopold, Paris, 1789. Was a violin-maker 
and also a fiery revolutionist. He was executed in 1 795 
for the part he took in the French Revolution. His instru- 
ments in many respects have considerable merit, but are 
marred by his varnish w^hich is of an inferior quality. 

Renault, Nicolas, Nancy, i6th century. A pupil of 
Tyrversers. 

Richard, Robert, Paris, 1756. 

Roze, , Orleans, 1757. Was a careful w^orkman. 

His instruments are well made and of good model. Var- 
nish yellow. 

Ruelle, Pierre, Paris, 1754. 

Sacquin, , Paris, 1830-1860. Made very good 

violins and basses. 

Salle, Paris, 1825-1850. Was not a maker of 

new violins, but was very skillful repairer and restorer of 
old and was deferred to as an authority on the genuineness 
of old instruments. 

Salomon, Jean Baptiste Deshayes, Paris, 1735-1760. 
Was celebrated for his good bases, but his varnish was rather 
hard. 

Saunier, , Paris, about 1770. Made some good 

violins, but his main work was done on guitars. It is said 
that he was the master under whom F. L. Pique worked. 

Schwartz. The name of a family of makers located in 
Strasburg. Bernard, the founder, died in 1822. His sons, 



The French Workmen. 



79 



George, Frederic and Theophile-Guillaume, succeeded 
him and the business is now conducted by Bernard's grand- 
son, Theophile-Guillaume, still at Strasburg. 



N.C.SILVESTRE NEVPU. 
a Lyon en 18 Nf 



Silvestfe. The name of a family of distinguished mak- 
ers at Lyons 1 80 i-i 858. Two brothers, Pierre and Hip- 
polyte, established the house in 1829. The elder, Pierre, 
worked under Lupot and Gand at Paris, and Hippolyte was 
with J. B.Vuillaume. The brothers were both good work- 
men and completed a very large number of instruments. 
Those of Pierre are highly esteemed. They were awarded 
medalsat the Paris expositions of 1 844,and 1855. I" 1865 
their nephew and successor, Hippolyte Chretian, removed 
from Lyons to Paris. He has continued the high reputa- 
tion of the house and has added to their honors by receiv- 
ing medals at the Lyons exposition of 1872 and at the 
Vienna exposition 0^1873. 

Simon, , Paris, 1788. 

Simonin, Charles, Mirecourt, 1826. He was an ap- 
prentice of J. B. Vuillaume. He returned to Mirecourt 



8o Rare Old Violins. 

and later removed to Geneva. After a residence of eight 
years there he settled in Toulouse. He obtained honors at 
the Paris exposition of 1855 ^'^^ since then at different ex- 
positions at home and abroad. 

Socquet, , Paris, 1760. A maker of the second 

class. 

Somer, Nicolas, Paris, 1749. A master workman. 

Stcininifer, Francois, Paris, 1827. A talented work- 
man who used good material and good judgment in his work. 

Sulot, Nicolas, Dijon, 1829. 

Thibout,Jacques Pierre. Born at Caen 1777. Died 
at Paris 1858. He was one of the best judges and makers 
at Paris in his time. His instruments won for him a first- 
class medal at the Paris exposition in 1855. 

Thiboat, Gabriel Adolphe. Son of Jacques Pierre. 

Thierriot, Pr«dant, Paris, 1772. 

Thomassin, ,Paris, 1825-1845. A clever work- 
man whose instruments are highly esteemed. 

Tolbecque, Aoguste, Paris, 1830. Was a very good 
'cellist. Studied the art of violin-making under Rambaux 
at Paris and produced some good imitations of old Italian 
instruments. 

Toaly,Jean, Nancy. 

Tywerscrs, , Viol-maker to the Prince of Lor- 
raine, 1 6th century. 

Vaillant, Francois, Paris, 1738. A very good violin- 
maker contemporary with Boquayand Pierray,whose work 
he sometimes excelled. 



The French Workmen. 8i 

Vanderlist^ Paris, i8th century. His violins are 
usually well made and in the style of Guadagnini. 

Veron, Pierre Andre, Paris, 1 8th century. 

Villaume and Giron, Troyes, 1 7 — . 

Voboam, , Paris, 1693. 

Vuillaume, The Family. The first of this name of 
whom we find any record was Jean Vuillaume, who was 
born and worked at Mirecourt in the first half of the i8th 
century. It is said that he was a pupil of Antonio Stradivari 
but there is no evidence to support the statement. On the 
contrary his work was of an ordinary kind and gave no 
trace of the training which an apprentice of the great mas- 
ter should possess. Claude Vuillaume. Born at Mire- 
court in 1772. Was a maker of the cheaper grades of 
violins. He had four sons who followed his profession, 
they were Jean Baptiste,the most famous of the family — 
whose biography will be found on. the succeeding pages — 
Nicolas, Nicolas Francois, and Claude Francois. Of these 
Nicolas Fran9ois was the only one whose work was note- 
worthy. He was awarded medals at the Antwerp exposi- 
tions in 1835 and 1841 and at the international exposi- 
tions of Paris, London and Dublin, as also at Vienna in 
1873. Sebastian Vuillaume, a nephew of Jean Baptiste, 
was a good workman and was awarded honors at two 
expositions. 

■Wolters,J. N., Paris, 1749. 

Vuillaume, Jean Baptiste. Born 1798. Died in Paris 
1875. In many respects the most clever French maker of 



82 Rare Old Violins. 

the century, and next to Nicolas Lupot, the greatest of 
the French school. 

Vuillaume was essentially a representative of the modern 
order of things, and he early became subject to modern in- 
fluences. 

The commercial instinct formed a very prominent part 
of his character. He vi^as extremely skillful, but instead of 
employing his art in the same direction as his predecessor, 
Lupot, and the Italian masters, his desire for quick returns 
overcame the pure artistict instinct, so that instead of mak- 
ing new^ violins, he made old ones — that is, he made imi- 
tations of the old masters, with old labels, everything com- 
plete, which, owing to the demand for old violins at his 
time, were easily disposed of. This, we are glad to believe, 
was chiefly confined to his earlier years, for in the later 
part of his career he added his own labels, and sold them 



XB .VUILtAUME 
I Rue CroJit desPeiits Champs k Paris an 




as copies only. While he did not use his faculty of 
originality to any great degree, he was a most careful and 
painstaking artist, and his work is most beautifully finished 



The French Workmen. 



83 



in all respects. His copies of Stradivari and Guarneri are 
considered his best. Stradivari was his idol, — and, as he 
was an indefatigable collector and dealer in the Italian vio- 



Jean Baptistc Vuilkume a faris 
5. rue Dcmo ufs -Te mes (f^ 




lins, and through his close relation with Tarisio, handled 
more fine masterpieces and had a better acquaintance with 
them than any man of his day, he had exceptional oppor- 
tunities of making true and perfect reproductions. 

The tone of his instruments is almost invariably very 
resonant, clear and strong. He was careful in the selection 
of wood and used the best to be had. His varnish, while it 
does not approach the Cremonese (nor is it in our opinion 
as good as Lupot's), is nevertheless of fine quality and 
always skilfully applied. 

Vuillaume was one of the best violin judges of the cen- 
tury. He had an intimate knowledge of the Italian instru- 
ments, and many of the best Stradivaris and Guarneris 



84 Rare Old Violins. 

known passed through his hands. At the death of Tarisio 
(one of the most interesting and unique characters in the 
Hddle world),Vuillaume, who was fortunate enough to buy- 
all of the instruments left by him, came into possession of 
the rarest and most perfect Stradivari extant. This instru- 
ment is known as the Salabue. It could hardly be bought 
to-day for less than ;^ 15,000. It is now the property of 
Mr. Crawford of Edinburgh. 



The Art in Germany. 

The art of violin-making did not take hold in Germany 
at so early a date as it did in either France or England, ow- 
ing, no doubt, to the fact that the Germans were content 
with their lutes, viols and guitars, in whose making 
they certainly did excel, and did not realize the import- 
ance of the violin in the musical family. To Jacob Stainer 
more than any other is due the popularity of the violin in 
Germany. As will be seen in the biographical sketch un- 
der his name, he worked for some years under the old Ger- 
man ideas and on the German models, but he was great 
enough to perceive that the Italians were the master work- 
men in this field and to visit Italy for instruction and im- 
provement. Others there were also, such as Ruppert, 
Jauch, Eberle and Bachmann, who copied Nicolas Amati 
to excellent advantage, and whose instruments deserved 
greater recognition at the hands of their countrymen, but 
Stainer's work overshadowed theirs, and it remains for the. 
modern cognoscenti to do them justice. Stainer also had a 
great many imitators, but only a few of them turned out 

8S 



86 Rare Old Violins. 

work above a mediocre grade or quality. This is somewhat 
remarkable, too, when we consider the very high quality of 
their work in kindred instruments, but while we find a very 
large number of German violin-makers, we can only de- 
plore the fact that their handiwork was not of a high order, 
without being able to offer any satisfactory explanation of 
this obvious fact. Following is a sketch of the leading Ger- 
man and Swiss makers : 



Simpertus Niggell, Lauten-und 
Geigen Macher inFuff en , vj 



The German Makers. 

Albani, Mathias. There were three makers bearing 
this name. The elder was born in Botzen about the year 
1620, and made violins similar in style to Stainer's, but 
somewhat heavier. His varnish is very good and he exer- 
cised good judgment in selecting his wood. His son, and 
namesake, born at Botzen in 1651,15 the most famous of 
the family, and his work is worthy to stand with that of the 
most famous Italian makers. The style of the younger 
Mathias is distinctively Italian, and it is supposed that he 
worked under Amati at Cremona. Whether he had such 
a distinguished master, however, is not so much to the 
point, as the fact that his workmanship shows that delicate 
and artistic touch peculiar to the Italian school. His violins 
were held in high esteem by Albinoni, a famous player of 
the early part of the 1 8th century. 

Albania Micheal, Botzen and Cremona, son of the 
above. Amati model, with German character of the 
edges and groove. Varnish very rich orange red. Tone 
excellent. 

87 



88 Rare Old Violins. 

Albani, Paolo, Perlermo and Cremona, 1630-50. 
Excellent work, wood and varnish. Said to have been 
a pupil of N. Amati. 

Bachmann, Carl Lodwig:, Berlin, born 1 7 16. Is men- 
tioned by Otto as one of the most celebrated of the Ger- 
man makers. His instruments are correct in proportions 
and, though too strongly made, the maker was happy in his 
selection of the wood used. Frederick the Great appointed 
this artist instrument-maker to his court. 

Bindemagel, Otto. Born at Gotha about 1745. The 
work of this maker is quite highly prized in Germany. He 
excels in varnish and has copied the better Cremonese 
makers with great fidelity. 

Bochstadtei-jWilh, Ratisbon, 17 — . Was a fairly good 
maker, but all of his work was not of equal merit. Otto 
condemns him on account of his use of a coarse-grained 
deal wood in the bellies, which he says has made the tone 
harsh, although the instruments are made according to the 
approved principles of acoustics. 

Die! or Diehl, Martin. Born about 1756 at Mayence, 
he worked under Nicolaus Dopfer,whose daughter he mar- 
ried. His work is well liked and shows considerable merit. 
His sons and grandsons, Nicolaus Johann, Jacob-Nicolaus 
Louis, Friedrich, Heinrich and Johann (Neayena) all fol- 
lowed the same occupation with varying success. 

Dopfer, Nicolaus, 1 768. His instruments are held in 
high esteem. The model is not so high as that of other 
German makers and the tone is of good quality throughout. 



The German Makers. 89 

Durfel, , Altenburg, 1 7 — Many of this maker's 

basses may still be seen in chapels in Germany and are still 
regarded as exceptionally good. His violins, although not 
handsome in appearance, nevertheless possess a good pure 
tone. 

Eberie, J. Ulric, Prague, 1730. A maker of violins 
and viols d'amour. He worked along the Italian lines and 
made some excellent instruments. 

Ernst, Franz Anton. A Bohemian, 1 745-1 805. A 
good violinist as well as a maker of good violins. It is to be 
regretted that he was not more prolific in this field. 

Ffcy, Hans, Nuremberg and Bologna, 1440. The 
lutes made by him became famous as one of the three great 
products of Bologna, the others being sausage and 
cheese. The "art" of the sausage still thrives there, but 
alas and alack for the lute ! Frey was also famous as the 
father-in-law of the artist Albert Diirer. 

Geissenhof, Franz, Vienna, 18 15. Made violins on 
the Stradivari model and made them all very well. Was 
one of the few good workmen of Viennese birth. 

Hassert. There were two brothers of this name. One 
lived and worked at Rudolstadt in the i8th century, the 
other at Eisenach. The Rudolstadt maker's violins were 
made on a very high model, and although he used excellent 
wood, the tone is not satisfactory. His brother's work, on 
the contrary, is an imitation of the flat Italian model, and 
with such success that his violins have frequently been 
taken for Italian instruments. 



90 Rare Old Violins. 

Hanger, Christian Fricdrich, Leipsic, 1718. Dis- 
played considerable skill in constructing not only violins, 
but also tenors and violoncellos, which are highly esteemed 
as among the best of German make. He followed the 
Italian models in his work. 

Jauch^Johann, Dresden, 1770. Followed the Cre- 
mona school and displayed a considerable knowledge of the 
art, and was particularly happy in the selection of his wood. 

Kembter, Otto, Dibingen, 1731. Copied Stainer with 
great accuracy. Wood and varnish were both excellent. 

KI02, Matthias. Born at Mittenwald, 1640. Was 
probably a pupil of Stainer, and made some excellent vio- 
lins. He did not exercise sufficient care in the selection of 
his wood, and although his varnish is usually of good qual- 
ity, his negligence in the first-named respect has spoiled 
his reputation. 

Klo2, Sebastian, Mittenwald, 1675. Son of Matthias. 
Surpassed his father in every way. His models are usually 
not so high, and his varnish good, although varied. That 
violin journal, "The Strad " says this maker, anticipating 
the esteem in which his violins are held, took care to mark 
them with a secret mark which is known to a few connois- 
seurs; this mark consists of the initials S. K. placed in a 
certain position on the instrument where it is not readily 
seen. The type of the labels is characteristic and some 
what hard to imitate. 

KIoz, George. Brother of Sebastian. This maker's 
specimens are usually well made, but he did not exercise 



The German Makers. 91 



Sefcaflian KIoz, Geigen Meicfier, in 
M i 1 1 e nwald an cfer JfTer, i yg Q 



sufficient care in selecting his wood, so that few of his in- 
struments are in a good state of preservation. 

KIoz, Egfitia, Mittenwald, 17 — . Made it a point to 
use only his own label on the instruments he turned out. 
In making the bellies he used a good Swiss pine instead of 
white larch, as was the custom in his time and country, 
consequently his violins have improved very much 
with age and use and are said to possess a finer and more 
powerful tone than those of any other of the Tyrolese 
makers. 

KIoz, Joseph, Mittenwald, i8th century. A son of 
Egitia Kloz. He inherited his father's skill as a workman 
and used better judgment in selecting his wood, conse- 
quently, although his instruments were not so well put 
together, acoustically speaking, they are well regarded by 
the best judges and amply repay the work necessary to 
the proper adjustment of their parts. His form is broader 
than the typical Kloz. 



92 Rare Old Violins. 

KIoz, J. Karl, who worked about 1 740 has left some 
good examples of his art. He was not closely related to the 
family of Matthias so far as known. 

Manssiell, Leonard, Nuremberg, 1745. He followed 
the Stainer model and did some exceptionally creditable 
work. The varnish used by him is a yellow and it shows the 
natural wood to good advantage. 

Nigfgel, Simpertos, Fussen, 1 8th century. His work- 
manship was of a good order. Model somewhat flattened ; 
tone quite powerful. 

Otto, Jacob Aug^ust, Gotha, 1 762-1 830. He was ap- 
pointed violin-maker to the Court of Weimar, and studied 
his art under Franz Ernest. He was not a prolific work- 
man, but made up in care and good judgment what he 
lacked in the other respect. In 1 8 1 7 he published a work, 
" How to Make and Preserve the Violin and Other Bow 
Instruments." He had five sons, George August, Chris- 
tian, Heinrich, Carl and Otto C. U. F. Of these the 
fourth son, Carl, is now living and is violin-maker to the 
Court of Mecklenberg. Three of Jacob's nephews are 
also living. They are Ludwig and Hermann at St. Peters- 
burg, and Louis at Dusseldorf, and all are highly esteemed. 

Rauch, Jacob, Manheim, 1710-1750. 

Rauch,CarI,Wurtzberg, about the same period. These 
two makers, of whom Jacob was a court violin-maker, were 
brothers. Their work was of more than average merit. 
Other members of this family whose work was above the 
average were Sebastian, 1725, and Frederick, 1750. 



The German Makers. 93 

ReJchcrs, August, Berlin. A pupilof Bausch. A man 
of wide experience in violin matters. He made excellent in- 
struments, but devoted himself especially in his latter years 
to repairing and dealing in old violins, of which he was an ex- 
pert judge. Many of the best things now in Berlin he was 
instrumental in bringing there. He died in October, 1 892. 

Ruppert, Franz, Erfurt, 17 — . This maker's violins, 
tenors and violoncellos are quite flat and possess a strong 
tone. They are well made, and although their general ap- 
pearance is not very attractive, they are held in high esteem 
by good judges. 

Schonger, Franz, and George, his son, Erfurt, 1 7 — . 
Of these two makers, Franz' work, although handsome, 
had no wearing qualities; whereas, his son's instruments, 
made in the Italian style, are far superior in tone and other- 
wise. 

Schmidt, of Cassel, 1817, takes high rank as imi- 
tator of Stradivari. His wood is of fine quality, and many 
of these instruments have been sold as Strads. 

Straube, Berlin, 1776. Was a good workman although 
not prolific. 

Scheinlein, Matthias F., and his son, Joh. Michael, 
Langenfeld, 1710— 177— . Were considered good work- 
men, but their instruments have not stood the test of time 
as well as those of their contemporaries. 

Schoon,Johann, Innspruck, 1680. Also worked at 
Salzburg. His work is superior in quality and his model 
is high. The varnish used is like Albani's. 



94 Rare Old Violins. 






Schonfeldei-, Johann Adam, Neukirchen, 1730-60. 
Fair work, high model. 

Schom, Johann Paul, Salzburg, 1700. A court vio- 
lin-maker of renown. 

Stadelmann, Daniel, Vienna, 1730. Modelled on J. 
Stainer's pattern. He did excellent work and used a thin, 
yellow varnish. Otto classes him as the best of the Ger- 
man makers after Stainer. 

Stadelmann, John Joseph, Vienna, 1 7 — . A good 
violin-maker, and as a copyist of Stainer his work takes 
high rank. 

Stainer, Jacob, Absom, July 14, 1621. This famous 
maker is to the German school what A. Stradivari is to the 
Italian, and considering the fact that he had an established 
style before he visited Italy, it is a question in the minds of 
many whether he is not entitled as a workman to rank 
with the more famous Italians. We do not, of course, pre- 
sume to say that his finished workperse will compare with 
Stradivari's, but that considering the fact that the tradi- 
tions of the inferior German school were so worked into 



The German Makers. 



95 



him, were so much a part of his training, that even when 
he awoke to the fact that his model was far from the best, 
that model had become a second nature to him, and like 
the "Old Man of the Sea," in the Arabian tale, almost 
impossible to shake off". Bearing this in mind, together 
with the fact that his home patrons were prejudiced against 
the Italian workmanship and models, the very superior in- 
struments made by him are marvels of the violin-maker's 
art. Stainer, upon his return from the workshops of the 
Amatii, used his best endeavors to raise the standarjl of 
taste among his patrons, to the Italian model, and there 
are in existence some examples of his workmanship which 
approach very closely, the N. Amati designs. There is 
now in the possession of Mr. Crandall at Chicago, a beau- 
tiful Stainer violin dated 1655, made after that master's 
return from Cremona, and it shows plainly the result of his 
Italian studies and the Italian influence. For many years 
Stainer's work, strange to say, was held in higher esteem 
by the Germans and English, than that of N. Amati, 
Stradivari and Guarnerius, and we find reference to this in 
Sir John Hawkins' "History of Music," London. 1776. 
He says : " The violins of Cremona are excelled only by 
those of Stainer, a German, whose instruments are remark- 
able for a full and piercing tone." Shades of Cremona! 

From the mass of fiction and apocryphal writings that 
have been published re Jacob Stainer, the best authori- 
ties agree on the following sketch of his personal history. 
At an early age he was apprenticed to an organ-builder at 



96 Rare Old Violins. 

Innsbruck, but owing to his frail constitution he had to 
abandon the work, so decided instead to follow the occu- 
pation of violin-maker, as less exacting. At the age of 
twenty-four years he was married, but it was not until 
his thirty-eighth year that he obtained recognition from 
the Austrian court, through its representative, the Arch- 
duke Leopold (governor of Tyrol). At forty-eight he re- 
ceived the coveted title of " Violin-maker to the Court " 
from the Emperor. He is said to have had mitch trouble 
over monetary matters, and was at law repeatedly with a 
money-lender named Heubmer. Finally he petitioned the 
Emperor Leopold — a patron and musical enthusiast — for 
assistance, but failed to obtain relief. The result was that 
his creditors harrassed him to such an extent that he lost 
his reason and died insane in 1683, at the age of sixty-two. 
His work made a lasting impression on the violin world, 
and as before stated, had his life been cast in different lines, 
or had his fortune led him to Italy at an earlier age, he 
would to-day be regarded as the peer of the famous Cre- 
monese. Stainer has had many German, French and 
English imitators, but most of them exaggerated the 
high swell, making really a burlesque of the original model. 
Some of them, however, have succeeded in hoodwinking 
the public and have worked off their imitations as genuine 
Stainers. The success of these imposters in finding dupes 
so readily is to be attributed to the variety of work turned 
out by Stainer. That this is to be regretted goes without 
saying, but by exercising care in the study of the Stainer 



The German Makers. 97 

model one can learn the peculiarities of the genuine and 
so avoid the imposition of unscrupulous dealers. But very 
few of the genuine Stainers exist in either Europe or 
America. See label at head of chapter. 

Stabler, Marcus, Kufstein, Tyrol, 1660. It is sup- 
posed that he was a brother of Jacob Stainer,but it is rather 
difficult at this date, and with the mass of fiction Connected 
with the Stainer name, to decide whether Jacpb had any 
brothers. Marcus Stainer did not display any of the genius 
possessed by his great relative, but was a fair average 
maker. He labeled himself, " Bogen und Geigen- 
macher." 

Stainer, Andreas, Absom, 1660. Was a maker of 
baritone viols. 

Steiningfer, Jacob, Frankfort, 1775. He married a 
daughter of Nicolaus Dopfer, and had as a pupil hi s nephew, 
Nicholas Diehl. 

Steiningfer, Franz, St. Petersburg. Son of Jacob Stein- 
inger. 

Stoss, Martin, Vienna, 1824. Copied Stradivari, and 
although his varnish was not good, his general work dis- 
played qualities of a superior order. 

Tielfce, Joachim Hamburg, 1539-1592. This maker 
won a high reputation for his exquisite workmanship in 
the ornamentation of lutes and guitars. Some specimens 
of his work still exist and show the very elaborate and 
characteristic Italian style of that period. There were 
several makers of this name, as is evidenced by the fact 



98 Rare Old Violins. 

that instruments bearing the Tielke label cover a range of 
years numbering a century and a half. 

VocI, E, Mayence, 1840. Followed the Stradivari 
model and was an excellent makei. His violins are highly 
prized. 

Widhalm, Leopold, Nuremberg, 1750. His work 
takes a high rank, and he displayed excellent judgment in 
selecting his wood, but his varnish, a light red, is not to be 
compared with that of the master whose model he fol- 
lowed — Stainer. 

Zwerger, Antoni, Mittenwald, 1750. This maker 
followed the style of Sab. Kloz. His wood and varnish 
are both good. 



J 



o Bett5 No 2 

near Northgate the 

Ro_yal Excliange 
London ll - 



Anglo-Celtic School. 

Writers on the violin have never seemed disposed to 
give a just share of credit to the British makers, although 
these latter certainly merited attention by their artistic 
work. Such authorities as Fetis, Otto and others, devote 
no space whatever to any British maker, although these 
same writers give honorable mention to obscure Conti- 
nental makers whose work did not for a moment compare 
in style or finish with the best work of the British school. 
This school was in a flourishing condition until the re- 
moval of duties on the foreign product flooded the English 
market with cheap instruments and compelled the artistic 
English maker to abandon his worthy efforts, and in order 
to live, descend to the level of the maker of inferior in- 
struments. The law of supply and demand is as inex- 

99 



loo Rare Old Violins. 

orable as that of the Medes and the Persians, and unfor- 
tunately- applies to the artistic as well as to the material 
things in life. Had there been a healthy demand for artistic 
instruments — a demand such as encouraged and fostered 
the art of a Stradivari, a Maggini or a Guarneri, who shall 
say that the products of the promising English makers 
whose artistic careers were snuffed out so unceremon- 
iously by these modern Huns and Vandals, might not in 
time take rank with the creations of the most famous of 
the Continental schools ? 

Foremost among the early English violin-makers whose 
work was above the average is 

Rayman, Jacob, London, 17th century. He was a 
Tyrolese by birth. He is regarded as the father of violin- 
making in that country. 

He flourished there about the years 1640—50. His 
work, although rough, has good character, and his varnish 
is worthy the highest praise. The model is that of Stainer, 
the favorite style in England in those times. 

Norman, Barak, London, 1 688-1 740. This maker's 
instruments occupy a deservedly high place in the British 
school. His earlier efforts were fashioned on those of 
Thos. Urquhart, with whom he probably worked. Mag- 
gini seems to have inspired him in his later work. He is 
credited with being the first English maker of violoncellos. 

Banks, Benjamin, 172 7- 1795. He is accorded a high 
niche in the gallery of English violin celebrities. It is not 
known where or from whom he learned his art, but his 



Anglo-Celtic School. loi 

preference, as shown in his work,was for Nicole Amati; in 
fact, he copied him with a faithfulness and skill both in the 
mode! and varnish, in a manner equalled by very few of 
even the best Continental imitators. His large violoncellos 
are the best examples of his work, although he also ex- 
celled in his violins and tenors. His varnish is usually 
red, and he invariably made a raised sharp edge. His 
work is usually branded under the shoulder nut. 

Betts, John, 1 755-1 823. Was at an early age ap- 
prenticed to R. Duke. He became an expert judge of old 
violins, and was instrumental in bringing to England many 
which are now quite famous. His shop was in the north 
tier of shops, of the Royal Exchange, London, not far 
from the Bank of England. See label. 

Dodd, Thomas, ShefEeld and London. He is noted 
for his excellent varnish and workmanship. He copied 
the models of N. Amati and A. Stradivari. His work is 
artistic in every respect, and his tone of fine quality, and 
why inferior German violins should obtain higher prices, 
when they do not possess one-tenth the merit, is not ap- 
parent. 

Forster,WiIliam, 1 739-1 807. The first of the makers 
bearing this name was a wheel-maker by trade, whose 
work in violin-making was unimportant. He was the 
father of the subject of our sketch. Wm. Forster, the 
younger, went to London from Cumberland, at an early 
age and his work soon commanded the attention of the 
connoisseurs of that period. His first instruments were 



I02 Rare Old Violins. 

modelled in the Stainer style, but it was not until he 
adopted the Amati model that his really artistic creations 
were produced. Although both his wood and varnish vary 
considerably, his work, considered seriatim^ is excellent 
throughout; his varnish is regarded with high favor. The 
great influx of Italian instruments militated against Fors- 
ter's products, but age has mellowed them considerably 
and they are recovering their former prestige. His 'cellos 
are especially sought, and command high prices. 

Duke^ Richard, London, 1 730-1 780. A copyist of 
both Amati and Stainer. His best work is on the Amati 
model, and his material and varnish compare favorably with 
the very best English work. A great many inferior imita- 
tions have been palmed ofFon a credulous public as " Duke 
violins ;" as a matter of fact his instruments are very rare 
and are highly prized by collectors. 

Fendt, Bernard, 1775-1823. ATyrolese by birth, he 
settled in London at an early age, entering the workshop of 
Thomas Dodd. This last-named maker won his reputation 
through the work of Fendt and his companion, John 
Fredk. Lott. As an imitator of the Italian makers Fendt 
has few equals. His handling of his tools and models 
may justly be called magistral. Bernard Fendt had four 
sons, the elder, Bernard Simon, although an excellent work- 
man, prostituted his talents to the end that he might arti- 
ficially mature his violins, and so obtain prices which the 
regularly made instruments could not command. Jacob 
Fendt, Bernard's third son, also excelled as a copyist, but 



Anglo-Celtic School. 103 

succumbed to the same evil in the matter of " ageing " his 
violins. This is to be regretted very much, as otherwise his 
work would take very high rank, particularly his copies 
of Stradivari. 

Hardie^ Matthew, Edinburgh, 1800-1826. A clever 
workman, who turned out many instruments, and is re- 
garded as the leading Scotch maker. 

Hart, John, 1805-18 74. One of the most widely 
known personages in the British fiddle world. Was a 
pupil of S. Gilkes, but devoted himself chiefly to the 
violins of the old masters, of which he became a very 
expert judge. He was acquainted with all the distin- 
guished specimens in Europe and very many passed 
through his hands. His son and successor does not 
seem to have inherited the natural aptness for his busi- 
ness possessed by his father. 

Hill. A well-known family of violin-makers and deal- 
ers, who have exercised a wide influence in violin mat- 
ters in England during the last hundred and fifty years. 
The founder of the family was Joseph, who was a pupil 
of Wamsley. Lockey Hill flourished in the fore part and 
the firm of Joseph Hill & Sons, during the latter part of 
the 1 8th century. 

Lockey Hill, the second of the name, worked in the 
early years of this century, and his son, William Ebs- 
worth, after a long and honorable career, died in London 
in the spring of '95. He founded the firm of W. E. 
Hill Sons, a concern of high character and reputation, 



I04 Rare Old Violins. 

consisting now of Messrs. Alfred, Arthur and William 
Hill. 

Perry, Thomas, Dublin, 1 767-1 830. Work of 
exceptional merit. His violins producing a soft and clear 
tone. His varnish was considered good and workman- 
ship excellent. Amati was the model he copied most 
successfully. In 1820 he entered partnership with W. 
Wilkenson. There was another Perry at Kilkenny. 

Other Makers of the Anglo-Celtic school whose work 
is entitled to honorable mention are : Samuel Gilkes, Ed- 
mund Airton, Joseph Panorma, Daniel Parker, John Bar- 
rett, Perry and Wilkinson, Richard Tobin, Thomas 
Urquhart, Nathaniel Cross, Charles Harris, John and 
Joseph Hare, Henry Jaye, John Delaney, Alexander and 
Thomas Kennedy, Peter Wamsley and John Furber. 

Another English maker was Sam Young, of St. Paul's 
Churchyard, of whom Purcell has written: 

"You scrapers that want a good fiddle well strung. 

You must go to the man that is old while he's Young. 
But if the same fiddle you fain would play bold. 

You must go to his son, who'ell be Young when he's old. 
There's old Young and young Young, both men of renown. 

Old sells, and Young plays, the best fiddles in town; 
Young and old live together, and may they live long. 

Young, to play an old fiddle; old, to sell a new song." 



Uendrik Jacob-s" jme fecit 
in^ amsterdam i/04 



Miscellaneous. 

Coattctas, Jose^Granada, Spain,i74S-i775. Known 
under the name Granadino. A very handsome violin of 
this maker's w^as shown at the Paris exposition in 1878. 
It belonged to the Prince Caraman-Chimay and was made 
on the model of Joseph Guarnerius. 

Contreras, . A son of Jose, 1793. His instru- 
ments, like those of his father, were well made. There 
are but few in existence to-day. 

Benedict, Jose, Cadiz, 1738. 

Ortegfo, Silvcrio, Madrid, 1792. 

Galvam, Joachim Joseph, Lisbon, 1769. Four of his 
instruments, violins and altos, were in the collection 
of Don Luis, King of Portugal. They were well 
made and possessed good tone qualities. The varnish 
was yellow. 

Romtxjuts, Pecter, Amsterdam, 1 8th century. High 
model, varnish of much brilliancy, but flaky. 

Jacohs, Henry, Amsterdam, 1 650-1 720. Studied the 
Nicolo Amati model to such good efFect that his imitations 
frequently pass for originals. His wood is very like that 



io6 Rare Old Violins. 

of the Italian's, and his varnish, while of a rather hard or 
brittle character, is full of color and excellently well ap- 
plied. In perfection of workmanship he is hardly excelled 
by the best of Cremona, and had he remained there, in- 
stead of returning to Amsterdam, where he was under 
high-model influences, his reputation would have been 
much enhanced. He was a pupil of N. Amati and mar- 
ried one of his daughters. 

Alletsce ot Alletzic, Paul, Munich, 1710-1735. An 
original designer and good workman. Was unusually for- 
tunate in selecting his wood. 

Kiaposse, S., St. Petersburg, 1748-58. 

Edlingfer, T., Prague, 171 5. Made good instruments 
on the Stainer model. 

Edlinger, Jos.Johann. His son, and also an artist. 

Eesbroeck, Jean Van, Antwerp, 1585. A lute-maker 
of renown. 

Gtobitz, A,, Warsaw, i8th century. Imitated the 
Stainer model 

Groblite, , Cracow, 1609. A 'cello-maker. 

Ja«cfc,Johann, 1735. A viol-maker. 

Jaspers, John, Antwerp, 1568. A lute-maker. 

Kanigowski, , Warsaw, 1841. A violin and bow- 
maker. 

Kittel, , St. Petersburg. A good repairer and bow- 
maker. 

Kleinmann, Cornelius, Amsterdam, 1671. 



Miscellaneous. 107 

Koettppers, Johann, The Hague, 1760-80. Is re- 
garded as one of the leading makers of Holland. 

Lcfebvret Amsterdam, 1 720-40. Followed the Amati 
pattern. 

Lupo, Peeter, Antwerp, 1559. 

Mesencer, Giov. dc, Brussels. 

Michiels, Grilles, Brussels, 1779. 

Ohberg;, Johann, Stockholm, 1773. Above theaver- 
age inability. 

Porlon, Peeter, Antwerp, 1647- 

Rottembouf gf, , Brussels. There were a number 

of this name, but none of them made violins better than 
the ordinary. 

Rudet, P., Warsaw, the present century. 

Schnoeck, , Brussels, 1 700-30. Violins, violas 

and 'cellos in the Amati pattern. 

Schewitzer, ,Pesth, 1800. Violin and viola-maker 

and a good one. 

Slagh-Meulen (Vander), Antwerp, 1672. Made good 
instruments and used a brown varnish. 

Snoeck, Egfidius, Brussels, 1731. A copyist — Amati 
model. 

Snoeck, Heni-i Augfuste, Brussels, 1672. 

Sonza, Giov. Guisseppe, de, Lisbon, 17th century. 

Vanvaelbeck, Loois Valbeke, 1 294-1 3 1 2. The old- 
est, or one of the oldest known instrument-makers. Was 
a maker of rebecs and viols, and is reputed to have in- 
vented the mechanism for the organ pedals. 



io8 Rare Old Violins. 

Verbucfc or Vebrecht, Gisbert^ Amsterdam, 1 67 1 . A 
violin-maker. 

Vewebfogen, Theodore^ Antwerp, 1641. A double- 
bass maker. 

Willenas, , Antwerp, 1730-60. Made violins in 

the Italian style. 



violin Bow-Makers. 

To the violinist a good fiddle without a good bow is like 
Hamlet, with Hamlet left out. It may surprise the reader 
to learn that a good first-class bow is much more difficult 
to obtain than a first-class violin. To the artist a perfect 
bow means everything. Evenly distributed strength and 
elasticity are the two principal qualities sought for, and 
they are found in the bows of but few makers, and in 
bows at large not in one in five thousand. 

Toorte, Francois. The greatest exponent of the art 
of violin bow-making was Francois Tourte, born in Paris 
in 1 747. He, in relation to bow-makers, occupies the same 
position as Antonio Stradivari does to violin-makers. He 
obtained a perfectly balanced bow, and Stradivari the per- 
fection of tone in the violin. 

The term balance^ as applied to violin bows, refers to 
the quality of lightness and equipoise resulting from per- 
fect gradations. A well balanced bow, held properly in 
hand, does not have the weighty feeling at the point. 

To obtain perfect equipoise as well as strength and 
elasticity is the secret of bow-making. 

Francois Tourte invented the modern bow-frog with 
slide of pearl and ferrule to hold the hair rigidly in place, 

109 



no Rare Old Violins. 

and perfected the modern bow. From J. B. Vuillaume, 
who was a frequent visitor at Tourte's, we learn that 
Tourte never followed any mechanical rules or patterns 
in his work, in obtaining the proper diameter of his bows, 
but relied solely upon his eye and hand, and his clever- 
ness of execution was so perfect that in measuring his 
bows one finds the same mathematical symmetry from 
end to end. He selected Pernambuco as the wood best 
adapted for bows. Occasionally they are light in color, 
but usually partake of the darker shades. 

Tourte never branded his bows with his name, as was 
the custom of nearly all the other makers. In a few in- 
stances he is known to have inserted in the slot a small 
ticket with his inscription. He made both octagonal and 
round sticks. His 'cello bows are especially sought, and 
bring nearly the same sums as those for the violin. 

Tourte obtained prices for his work which to the un- 
initiated, seem fabulous. It is said that his regular price 
was ;^40.oo for a bow, and that his best, mounted in gold 
and tortoise shell brought as high as ;^75.oo. They are 
worth to-day from ;^ioo.OO, for an ordinarily good speci- 
men, to ;^300.00 for his best. Some of his finest work is 
in this country. Imitations of his bows are legion and 
have to be guarded against. He died in 1835. 

Adam, Jean-Dominique, Mirecourt, 1 795-1 864. A 
skilled maker. Some of his work is very fine. 

Barouz, , Paris, 1830. A good workman whose 

bows are highly esteemed. 



Violin Bow-Makers. iii 

Bausch and Son, Leipsic,about 1840. A firm of bow- 
makers well-known. Their best bows are good and are 
highly prized. 

Bragflia, Antonio, Modena, 1 800. 

Dodd, E^ Sheffield and London, 1705— 1810. 

Dodd, James, London, 1864. 

Dodd, John^ Kew, 1752-1839. Was regarded as the 
English Tourte in his time, and was undoubtedly a great 
artist in his line. His choice of wood was remarkably 
good, and his bows lacked but one feature to make them 
perfect — they were, with few exceptions, too short. 
Although he received high prices for his work, he was too 
much addicted to " the cup that cheers " and neglected his 
opportunities, to worship at the shrine of Bacchus. He died 
in abject poverty at the workhouse in Richmond. 

Euiy, , Paris, 1820. A clever workman who is 

said to have rivalled in some respects P rancois Tourte. 

Fonclause, Joseph, Paris, 1 800-1 865. He was an ap- 
prentice of Pajeot at Mirecourt. From thence he went to 
Paris, where he was employed by J. B. Vuillaume. Later 
he opened an establishment of his own in the Rue Pagevin 
where he remained until his death. He was an excellent 
workman and his bows take high rank among artists. 

Gand and Bemardel, Paris. The biographical sketch 
of these makers will be found^under the " French School 
of Violin-Makers," on a preceding page. 

Harmond, Mirecourt, 1 830-1 870. 

Henty, . Mirecourt, 1 8 1 2. He worked for Cha- 



112 Rare Old Violins. 

not, and later for Peccate at Paris in 1837, and was at one 
time a partner of Simon. His work is highly esteemed. 

Kittel, , St. Petersburg. A contemporary maker 

whose work is exceptionally good. 

Knopf, Heinrich and Ludwig:, Berlin, 1882. 

Lafleuf, Jacques, Nancy, 1760-1832. He was a 
good workman whose bows are favorably compared with 
those of Tourte. 

Lafleur, Joseph Rene, Paris, 1812-1874. Son of 
Jacques, and like his father, an excellent workman. 

Lamy, Alfred Joseph, Mirecourt, 1850. He began 
work at the tender age of thirteen. When sixteen he was 
employed by Gantrol at Chateau-Thierry. Leaving him 
in 1877 he went to Paris, where he worked under F, N. 
Voirin until the latter's death in 1885. He then opened 
an establishment of his own in the Rue Poissonniere. 
His work is exceptionally good and partakes of the style 
and quality of Voirin's. He is regarded as one of the best 
of living bow-makers. 

Lupot, Francois. Born at Orleans 1774; died at Paris 
1837. A brother of Nicolas Lupot, the famous violin- 
maker, but he confined himself solely to bow-making, in 
which he achieved quite as much success as did his 
brother in the violin world. To him is due the credit of 
the invention of the metal groove in the violin nut. 

Maire, Nicolas, Mirecourt, 1876. A pupil of J. La- 
fleur. 

Miquel, Emile, Mirecourt. 



Violin Bow-Makers. 113 

Pajeot, , Mirecourt, 1830. A very industrious 

maker. 

Panorma^ George Louis, London. A good workman. 
He excelled as a maker of double bass bows. 

Peccate, Dominique, Mirecourt, 1 8 1 o. His father was 
a barber and intended to have his son follow the same 
calling, but Dominique preferred cutting bows to cutting 
hair and abandoned the trade of barber in 182610 pursue 
the other calling at the shop of J. B. Vuillaume in Paris. 
He made rapid strides under that master and soon became 
the cleverest workman of his time. Some of his work 
bears his name, but most of it was put out without his 
mark. He succeeded to the business of F. Lupot on the 
death of that master. In 1847 ^^ returned to his native 
town, where he continued to make bows until his death 
in 1874. He had a brother who also worked for J. B. 
Vuillaume and was known as Peccate Jeune, but his work 
was inferior to that of Dominique. 

Pelligffi, , Parma. A contemporary maker. 

Persoit, , Paris, 1823. An exceptionally good 

workman. He was employed by J. B, Vuillaume from 
1823 to 1841, but did not remain in the business after that 
year, as he died while employed as a doorkeeper in a 
house in the Rue St. Honore. 

Pupinat, Padre, Lausanne, 1855. 

Ronchini, Rafaello, Fano. Contemporary maker. 

Schwartz, Georges Frederic, Strasbourg, 1785-1849. 
He served his apprenticeship under his father, Bernard 



114 Rare Old Violins, 

Schwartz, the violin-maker, but later devoted himself ex- 
clusively to bow-making, in which he excelled. His bows 
are marked near the frog, " Schwartz, Strasbourg." 

Simon, , Mirecourt, 1808. He went to Paris in 

1838 and engaged with D. Peccate; later, in 1845 he was 
employed by J. B. Vuillaume. He succeeded to the busi- 
ness of Peccate in 1847, and took as a partner his fellow- 
townsman, M. Henry. After 1 85 1 M. Henry retired and 
Simon continued the business in his own name. His bows 
are very good. 

Sirjcan, Paris, 18 18. 

Tadolini, Ignazio,Modena, 1797-1873. A violin and 
'cello bow-maker of renown. 

Toumatof is, Paris, 18 13. 

Tourtc, Savire, Paris. 

Tubbs, London. A family of well-known makers 
whose work is highly esteemed. Wm. Tubbs, 1840- 
1850, was the founder, and his bows are exceptionally 
good. 

Vigneron, A., Paris. A contemporary maker, 

Voirin,NicoIas Francois, Mirecourt, 1833-1885. He 
studied the art of bow-making in his native town, but 
realizing that the opportunities for advancement were 
lacking there, he went to Paris in 1855, where he entered 
the employment of J. B. Vuillaume. He remained with 
that master for iifteen years and then opened a shop of 
his own where he continued in business until his death in 
1885. His work is superlatively good and compares 



Violin Bow-Makers. 115 

favorably with his great predecessors Tourte and Peccate. 
It possesses a purity, elegance and finish impossible to 
surpass. He was awarded the only medal given to a bow- 
maker at the Paris exposition of 1878. At the time of 
his death he had prepared a superb collection of bows for 
the exposition at Antwerp where it won a gold medal. 
So famous a maker naturally had his imitators, and an 
enormous number of bows bearing the name " F. N. 
Voirin " has been thrown on the market since his death, 
but of course a good judge can readily detect the imita- 
tions. Mme. Voirin has continued the business since the 
death of her husband. 

VuiIIaame,J. B., Paris, 1 798-1 875. Although not a 
bow-maker himself, Vuillaume was an excellent judge of 
bows and made it a point to keep one or more first-class 
men in his shop. He was always willing to encourage the 
young maker who gave evidence of talent in this line, and 
to him is due the credit of bringing out such bow-makers 
as Persoit, Fouclouse, Peccate, Simon and Voirin, all of 
whom worked for him at different times in their careers. 
It would have been better, perhaps, had he permitted these 
artists to stamp their own names on the bows, but the com- 
mercial side of the question had to be considered and Vuil- 
laume was but human. He invented a steel tubular bow 
and also a fixed nut, but both inventions were failures. 
Thousands of bows bearing the name, " Vuillaume " are 
sold annually, but of course they are not genuine. 



Antonius Stiadiuarius Cremq^jifis 
FaciebatAimo i590i 



Catalogue of the Lyon & Healy 
Collection of Rare Old Violins, 

i896-'97 



Antonio Stradivari, Cremona, 1690 

Price, - - ?5jOOO 

Dr. Joachim, writing in the "Woman at Home," ex- 
pressed himself as follows : 

"With respect to the violin makers of Cremona, I am of 
the opinion that the palm should be awarded Antonio Stradi- 
vari, in whose instruments are combined the tone-producing 
qualities which the other great makers have only been able to 
bring forth individually. Maggini and Amati were renowned 
for the delicacy and sweetness they imparted to their instru- 
ments, but the union of liquidity and power is more especially 
noticeable in the violins of Joseph Guarneri del Gesu and 
Stradivari. * * * * I often wish I were a wealthy 
man in order that I might make a really complete collection 
of violins. I would purchase one of every period, so that 1 
might learn and become familiar with the individuality of each 

ii6 



Collection of 1896-97. 117 

maker. Stradivari seems to have given a soul that speaks and a 
heart that beats to his violins, for the player seeks and finds a 
sympathetic echo to his emotions and this is the secret of 
bringing out the essence of fundamental tone." 

It is with great pleasure not unmixed with pardonable 
pride that we are able to ofFer, this year, one of the choic- 
est specimens of this incomparable luthier's art. Time 
has not materially changed its original beauty ; only a few 
lines are worn, otherwise it appears as if made but yester- 
day. The difficulty in securing such a violin, only those 
who have had the experience can appreciate. It is alto- 
gether the result of extraordinary good fortune, when one, 
in these days, procures such an instrument. We have had 
the desire for years past, to add to our collection a fine 
Stradivari, but heretofore have never been able to find a 
perfect one that we could offer at a reasonable price. Our 
expert ransacked Europe on his last trip, for such an instru- 
ment, only to be disappointed. Several Stradivaris were 
found, but either they were not perfect enough, or were 
held at such fabulous prices that he thought it unwise to 
buy. 

The Dolphin and Betts Stradivaris were available, but 
as yet, the American public is not sufficiently well versed 
in the real value of such instruments to warrant their saW 
here at prices requiring five figures to express. It was oui 
desire to secure a Strad, as good in tone qualities as any of 
the more famous specimens, — achieving this point in the 
one we now offer, we are willing to concede the superiority 



ii8 Rare Old Violins. 

of the others in the matter of technical perfection, of every 
line and angle, — the result of good care, and their never 
having been used to any great extent. In this violin, 
through the kindness of Mr. D. J. Partello, U. S. Consul 
at Sonneberg, Germany, (one of the best informed judges 
of Stradivari's work), we have obtained what we so long 
have sought. 

This gentleman is the possessor of many valuable rep- 
resentative violins by various masters, all of the highest 
order; among them are three fine Stradivaris. He kindly 
consented to part with this specimen, and we are thus en- 
abled to list, for the first time, in an American Catalogue, a 
strictly first-class Stradivari violin, of undoubted authen- 
ticity. It will be remembered by those who have read the 
sketch of Stradivari's life in this book, that in the year 
1690, he executed an order for a full set of instruments, 
intended for the Chapel of the Duke of Tuscany, and in 
consequence, he made, as far as is known, but two violins 
in that year, viz.: the instruments intended for this set. 

We beg to quote a letter of exceptional interest, given 
in full by Desiderio Arisi, in his manuscript account of the 
life of Stradivari, — it was in relation to the order for the set 
of instruments given by the Marquis Bartolomeo Ariberti, 
a Cremonese nobleman ; which order comprised two vio- 
lins, a violoncello and two violas, and although given to 
Stradivari in the year 1 684, the instruments were not com- 
pleted and delivered until 1690; the letter, addressed to A, 
Stradivari, is as follows: — 



Collection of 1 896-'97- 119 

" The other day I made a present of the two violins and 
the violoncello which you made for me, to His Highness, the 
Prince of Tuscany (Casimo III — de Medici — ); and I 
assure you, to my great satisfaction, he has accepted them 
with such pleasure, that more I could not expect. The mem- 
bers of his orchestra, — and he possesses a select number, — 
were unanimous in expressing their great appreciation, de- 
claring the instruments quite perfect, and, above all, exclaim- 
ing that they never heard a violoncello with such an agreeable 
tone. For the highly flattering reception, with which my 
present has been received by His Highness, and which I can. 
not sufficiently describe, I am principally indebted to the care 
which you have used in the manufacture of the instruments. 
At the same time I hope to have by this present shown you 
my appreciation, and of having acquired the merit, of practi- 
cally bringing to the knowledge of such a personage, the truth 
of your great skill, which will procure you, undoubtedly, 
many orders from this exalted house. To prove this, I have 
now to request you to begin at once two Tenors, one Tenor 
and the other Contralto which are wanted to complete the 
Concerto." 

A more gracious or considerate letter than this was 
never penned, and it shows Marquis Ariberti to have been 
not only a gentleman of refined taste, but also an influen- 
tial patron of Art. 

Messrs. Hill & Sons, were the possessors of the Tus- 
can Stradivari, with which they parted in 1892 to Mr. 
Brandt, for the sum of ;^2000. The Tuscan was one of 
the two violins of the set referred to above, made for Mar- 



I20 Rare Old Violins. 

quis Ariberti, in 1690. As the one in our possession is 
identically the same in dimensions, modeling, date and 
general character, and the wood is so similar in quality 
and figure that it undoubtedly came from the same block, 
and as these two violins are the only ones Stradivari is 
known to have produced in the year 1690, taken with the 
fact of the early history of our instrument, prior to 1 804, 
— the evidence is conclusive that this is the other of the 
two violins of the set made for Marquis Ariberti. These 
interesting facts make them the representative specimens 
of the Long Strad period. 

The history of this violin is a most interesting one. It 
was obtained in Venice in 1804 by Mr. Pylrus, a well 
known connoisseur of those days. Where, in Venice he se- 
cured it, is not definitely known, but the supposition is that it 
was from a private family who had possessed it for nearly a 
century. Upon the return of Mr. Pylrus to London, the 
violin passed immediately into the hands of that famous 
devotee, the Viscount Arbuthnot, a name not unfamiliar to 
Americans from its association with the war of the Revo- 
lution, particularly at Yorktown. This nobleman held it 
many years, finally presenting it to his first cousin, a Mr. 
Ogilvie, in whose family it remained until it passed from 
the family into the possession of Messrs. Hill, for Mr. 
Partello. It has had the best of care. The body is intact, 
and as there are no cracks in the top to mar its beauty and 
tone, it is practically in the condition in which it left the 
hands of Stradivari. The edges of the upper bout, the back 



Collection of 1 896-'97- 121 

of the scroll, and left ^ alone show the marks of time. 
The label is intact and has never been moved from the 
position in which it was placed by the hands of Stradivari 
himself. 

The wood throughout leaves nothing to be desired, — 
it is simply perfection. That of the back is beautifully fig- 
ured and is one piece, — the ribs match the back, and the 
top is a work of art, the equal of which can never be found, 
except in a Stradivari. The varnish is of the loveliest de- 
scription ; it is an orange red, delicately shaded, and has a 
richness and fire which may be equaled, but never ex- 
celled. 

The tone of this violin is marvelous for its strength, 
mellowness, breadth, responsiveness and singing qualities. 
It is a tone which once heard, will never be forgotten ; a 
tone to delight the soul of an artist and cause him to ex- 
pand and broaden in his musical interpretations. 

The dimensions are the same as the Tuscan, i6go, 
and Dolphin, 17 16, and we give herewith the measure- 
ments of several Stradivaris of different periods, for which 
information we are largely indebted to Mr. Partello, who 
has, through the kindness of Dr. Joachim, given us the 
dimensions of the latter's well known Buda-Pesth Stradi- 
vari, and also of two grand Amatis and two Guarnerius. 



122 



Rare Old Violins. 



Name of Instrument 
and Owner. 


Date, 


Lenpth 
Body, 
inches. 


Width 

of Lower 

Bout. 

Inches. 


Width 
of Upper 

Bout. 
Inches. 


Depth 
of Sides 
Upper 
Bout. 
Inches. 


Depth 
of Sides 
Lower 
Bout. 
Inches. 


**Le Messie,"Mr.Crawfor 


i 1716 


14 


8X 


6H 


lA 


I^ 


Buda-Pesth, Dr. Joachim 


■ ms 


H'A 


8X 


6fl 


lA 


iX 


Ludwig, D. J. Partello 


- 1724 


14 scant 


8'A 


6'A 


'A 


IX 


Spanish, D. J. Partello 


- 1723 


14 full 


8A. 


6H 


iX 




Senor Pablo Sarasate's - 


- 1724 


14 scant 


S'/i 


6M 


'A 


ij 


Tuscan, Mr. Brandt - 


- 1690 


14 full 


8X 


6H 


'A 


lA 


The Lyon & Healy 


1690 


14 full 


8X 


(■H 


lA 




Dolphin, Mr. Bennett - 


■ 1714 


14 full 


8X 


6« 


lA 


lA 


Jos. Guarnerius, known 
as the Pugnani 


1734 


13}* 


81V 


m 


i^ 


'A 


Jos. Guarnerius, formerly" 














belonged to Ferd. David 
now to Mr. Albert 


1730 


^m 


711 


6/. 


'A 


'a'. 


Payne, Leipsig - 














Carlo Bergonzi, spoken of 














by Mr, Hart: belonged 














to Count Cozio, later 














to Earl of Falmouth, 














also to the Adam col- }. 


1733 


13H 


81V 


6^^ fUll 


i^ 


la's 


lection, and Mr. Ben- 














nett, with the Dolphin 














Strad, now to Mr, Par- 














tello - . - 














N.Amati (grand pattern)." 














Regarded by all dealers 














of Europe as the best 


1648 


14A 


8A 


6^ 


lys 


lA 


specimen extant. Be- 














longs to Mr. Partello, 














N. Amati (grand pattern). " 














Known as the Spagno- 
letti, one of the best 


1682 


H 


8X 


6U 


1% 


'A 


specimens known - 















Collection of 1896-97, 123 

It will thus be seen that Stradivari deviated very little 
from his proportions of 1 690-1 700, — the Long Strad 
period, and that the impression that he made much larger 
violins after 1705, is a mistake, — the diiFerence, as ex- 
plained in the sketch of his life, is in the treatment alone. 

The tone of a Stradivari, after all, is its greatest charm 
and glory, and virhen the violin is in good preservation and 
condition, the Stradivari tone is invariably present. 

To adequately describe such a tone in virords is impos- 
sible, — one must hear to realize its transcendent beauty. 
For centuries poets have sung Stradivari's praises, vieing 
with each other in the endeavor to find superlatives strong 
enough to express the admiration felt universally for the 
Stradivari tone — yet who that has heard it can truthfully 
say that language — even the language of a poet can depict 
the sublime beauty of the tone of a perfect Stradivari, 
summoned by the bow of the artist ? 

518 Michael Angelo Bergonzi, Cremona, t747 
Price, - - lifoo 

As compared with the violins of his father. 
Carlo, the work of this maker, as exemplified by 
this specimen, is of higher build,broader and slight- 
ly more angular in outline. His scroll has the 
same prominent ear, and his varnish, not quite so 
lustrous, is laid on thickly and presents a very rich 
appearance. The preservation of this violin is all 
one could ask. It could scarcely be better. The 



124 Rare Old Violins. 

varnish is intact, the edges very little worn, — and 
in every other respect as well, it will strike the 
connoisseur as a nearly perfect specimen. Carlo 
Bergonzi was a pupil of Stradivari and in the vio- 
lins of Michael Angelo Bergonzi, there is a great 
deal of the Stradivari character. The quality of 
tone of this violin is of the highest; it is respon- 
sive, brilliant, resonant and possesses every attri- 
bute of a truly great instrument. Now that the 



Mickelan ^elus Bergon&i 
Fecit <7reaona.e 17 



prices of Carlo's violins have risen so high, it is 
gratifying to notice that the work of his son is ap- 
preciated at its true value. The color of the var- 
nish is an orange red, — the wood of top, back and 
sides is of the loveliest description, and in its selec- 
tion the maker shows that he possessed a rare 
knowledge of the acoustic properties of wood. 
The exact dimensions are as follows : — length of 
body, 14 inches; width of lower bout, 8 inches; 
width of upper bout, 6^ inches. 



Collection of 1 896-'97' 125 



sricolas Lupot Luthiei^ rue de 
Gpammont • a Paris Tan/Sdl 



253 Nicolas Lupot, Paris, 1805 

Price, - $1200 

This violin, famous for its tone and beauty, be- 
longed for many years to Mazas, the well-known 
composer of violin studies and music, and is 
known as the Afazas Lupot. It is one of the best, 
if not the best, specimen of Lupot's work, extant, 
and possesses all the qualities which have made 
his instruments as eagerly sought, as those of 
Stradivari or Guarneri. No collection can boast 
of a representative character or completeness with- 
out one or more of Lupot's violins. This speci- 
men belongs to his best period, — ^when he made 
most of his great violins, and the character of the 
work, wood and varnish is of remarkable beauty. 
Its tone is very broad and brilliant, it responds to 
every touch of the bow with remarkable ease, and 
its carrying quality is really surprising. Its condi- 
tion is perfect, except that the varnish, which is a 
dark red, is much worn, but that only adds to its 




126 Rare Old Violins. 

rich appearance. It was formerly in the famous 
collection of Mr. Partello. Its dimensions are as 
follows: — length of body, 14 inches full; lower 
bout, Sj4 inches; upper bout, 6^ inches. 



^ Joannes Baptiita Guadafnini 4 
Jrcmonenils fecit Taurini. GBG 
jnus Antoni Stradivari 17 



341 Giovanni Battista Guadagnini, Turin. 

Price, _ _ _ 1 1200 

Scarcely any other of the Italian malcers have 
risen so rapidly in the esteem of the violin world, 
as the Guadagnini, — and today, such is the de- 
mand, they are almost impossible to secure. This 
specimen is of the Turin period, and was made at 
the zenith of his power. The varnish is a dark 
red, very lustrous and rich. The wood through- 
out is of the most desirable kind. The back and 
sides are exquisitely figured, the former is cut so 
as to show its beauty to the greatest advantage 
and it is in one piece. The tone is characterized 
chiefly by mellowness and richness, and it is re- 



Collection of 1 896-'97' 127 

sponsive and very agreeable to play. The scroll 
possesses all the Guadagnini characteristics and 
is very graceful in design and the violin is in 
fine condition. Length of body, 13^ inches; 
w^idth of low^er bout, 8-jlj inches; width of upper 
bout, 6^ inches. 



Antonms 9 & Hxeronimtts Tf, 
Ainati Cremonen. AndrexF. x 608 



323 Antonius and Hieronymus Amati, Crt- 
mona, 1 600-1 640 

Price, - - I700 

The beautiful instruments, of the Amati 
Brothers are too well known to need commenda- 
tion by us. This is a representative specimen of 
splendid tone qualities. Its richness and depth 
surprise all who hear it. Being narrow in the up- 
per bouts and very responsive, it is essentially a 
lady's instrument, and it should be possessed by 
one who wishes for success in her concert work. 
The wood is exceedingly handsome throughout. 



128 Rare Old Violins. 

— the back is very highly figured, also the sides, 
and the top is an exceedingly fine piece of tone- 
wood. The varnish is of a light orange color, 
slightly shaded. The scroll is most delicate in 
every detail, and is perfectly intact. Length of 
body, 13^ inches; width of lower bout, yj4 
inches; width of upper bout, 6^ inches. 



Domimcus MsTita^nana. Sub Si- 
gnum Crcmonae Venetiis i:/%^. 



509 Dominicus Montagnana, Venice, J 700-40 
Price, - - - ^850 

This is a most desirable specimen of the work 
of the "Mighty Venetian," as Mr. Charles Reade 
has aptly termed him. The model is well devel- 
oped, the outline broad, the wood of choicest 
quality and tone of remarkable strength and char- 
acter. It responds, freely, to every touch of the 
bow, and every effect of shading known to violin- 
ists is possible on it. The varnish is a lustrous 
brown-red color, and is very attractive in appear- 
ance. In our opinion this violin is especially 



Collection of 1896-97. 129 

adapted for concert purposes, where a really first 
class instrument is desired, and appreciated. Its 
measurements are as follows: — Length of body, 
14 inches; width of lower bout, 8 inches; width 
of upper bout, 6 yi inches. 



Ho: Bap RogeriusBon: Nicolai Amatide Cremo- 
na alumnus Bnxfa fecit AnnoDoTOini i^y\ , 



510 Gio. BaptisteRuggeri, G-cmona, 1700 

Price, ... 1 800 

Bearing the genuine label of Nicolo Amati. 
Many violins attributed to Nicolo Amati were 
made by G. B. Ruggerius, his pupil. By this 
means higher prices have been obtained by un- 
scrupulous dealers, but a great maker, such as 
Ruggerius, has been robbed of the fame he richly 
deserves. This instrument is one that can easily 
be mistaken for a Nicolo Amati, and, on account 
of the prestige of liis name, sold for twice the 
sum asked for it at the present time. The tone 
combines the necessary requisites of quality and 



ijo Rare Old Violins. 

quantity. It possesses all the sweet qualities of 
the Amati, but has also greater strength. Its 
tone-carrying property is one of its most valu- 
able characteristics, and adds greatly to its desira- 
bility for concert work. The varnish is a dark 
brown. The outline and model very handsome 
and the work most carefully and artistically ex- 
ecuted. Length of body, 1 3^ inches ; width of 
lower bout, 8 inches; width of upper bout, 6^ 
inches. 



Jofeph Giuamerius fjliuS Andreae fecit 
CrcmoneiubtituU S. Teresie T?^^ 



->u. 



505 Joseph Guarnerius, filius Andreas, Cre- 
mona, J 70 1 

Price, ... 1 500 

Next in importance to Joseph Guarnerius del 
Jcsu, in the family was Joseph, son of Andreas, 
his cousin. His violins are chiefly noted for 
the mellowness of their tone. This specimen is 
small in model, narrow in the bouts, so that it is 
very easy to play and is especially adapted to a 



Collection of 1896-97. 131 

player having a small hand. The varnish is dark 
orange red, slightly shaded, the wood very fine in 
back, sides and top, the latter being broad in grain. 
The tone is very deep, mellow and even. Dimen- 
sions are as follows: — Length of body, 13^ 
inches; width of lower bout, 7^ inches; width 
of upper bout, 6j^ inches. 



Joannes Baptifta GuaJagdni Plsb- 
centinus fecit Mediolani 17 ^ *» 




420 Joannes Bap. Guadagnini, Mediolani, 1 743 
Price, - - - $600 

A well preserved specimen of this famous 
maker's work. The outline is that of Stradivari 
and the model is flat, the wood is of rare quality 
and the varnish a dark red, shaded, which gives 
it a very rich appearance. Its tone is very strong 
and penetrating, making.it a valuable instrument 
for a musician. It has had very good care and is 
in almost perfect preservation. Length of body, 
14 inches; width of lower bout, 8 inches; width 
of upper bout, 6 J^ inches. 



132 Rare Old Violins. 



KrcoUtti AmatuS Cremorten. HiefOii>mi 
Fil. ac Antonij Nepos Fecit, i^ff 



508 Nicolo Amati, Cremona, 1666 (Grand 
Pattern) 

Price, - - I850 

In respect to tone qualities, this is one of the 
best examples of Amati's work we have seen. 
The condition is fair, — excellent as far as the 
vital points which affect the tone are concerned. 
The model is one of his best, having all the grace- 
ful proportions which have made this master 
luthier, world renowned. The color of the var- 
nish is a brown, tinged with red, and it is rich 
and full of lustre. The wood is handsome in both 
top and back and is of fine quality. The tone is 
such as one would expect in a first class instru- 
ment from the hands of such a famous maker. 
Length of body, 14 inches; width of lower 
bout, 81^ inches; width of upper bout, 6^ in. 



Collection of 1896-97. 133 



Hendrik Jacobs jhe fecit 

in amsterdam i/04 



178 Henry Jacobs, Amsterdam, 1704 

Price, - - $700 

This specimen of Jacobs' work, a maker who 
is recognized in Europe as one of the greatest 
artists, is undoubtedly the best known example 
extant. The workmanship is incomparable. The 
conception, grand; and the tone, of the greatest 
beauty. Jacobs was a son-in-law of Nicolo 
Amati, of Cremona, with whom he lived for years, 
and from whom he learned the art of violin-mak- 
ing. Later he went to Amsterdam, and founded 
an establishment. He is regarded as the best 
copyist of N. Amati, and his instruments often 
pass as Amati's. 

19 i Jacobus Stainer, in Absom, 1655 

Price, - - - 1 1 200 

This is the best known Stainer violin in Amer- 
ica. It belongs to Stainer's best period, having 
been made shortly after his return to Absom, 



1 34 Rare Old Violins. 

from Cremona, where he had served with Nicolo 
Amati. It, therefore, is not like the high 
modeled, so-called Stainer violins, but has, on the 






contrary, a purely Italian character (particularly 
in varnish and workmanship), entirely foreign to 
the German style. The workmanship is exquis- 
ite — of the highest standard of excellence, and the 
general appearance that of a Nicolo Amati of the 
same period. It comes from the Hill collection 
in London, and we are certain that any one desir- 
ing a fine Stainer, will not be disappointed in this 
instrument, no matter how high his ideal may be. 

504 Joannes Franciscus Prcssenda,Turin, \Z\\ 

Price, - - - I300 

A remarkable example of the work of this 
maker. Perfect in preservation. Rich red var- 
nish, large Guarneri model, beautiful wood. 
Broad, resonant, responsive tone. 



Collection of 1896-97. 135 



Fr ancifcus Strad4V«na&Crcmo«tn Rs 
filius Antonii fecicUt Aniu> i7i^^ 



—v 



528 Francesco Stradivari^ Cremona, 1742 

Price, - - _ ^1500 

Francesco and Omobono Stradivari inherited 
all the violins, tools, model and wood at the death 
of their father in 1738. Francisco was undoubt- 
edly the better workman of the two, and made 
many beautiful instruments, more or less like his 
father's, many of them having been made in the 
work-shop of Antonio Stradivari. Lancetti 
remarks of Francesco Stradivari: "After the 
death of his father, he made several violins and 
tenors, to which he put his own name. Although 
he did not succeed in perfectly imitating the 
work of his father, the instruments which he 
made in the years 1 740 and 1 742, and which re- 
mained, after the death of his father, in the pos- 
session of his brother, Paola, were sold at the same 
price as those of his father, as mentioned in the 
correspondence between Count Cozio and Paola. 



136 Rare Old Violins. 

Francesco died at the end of 1 742, the year Omo- 
bono died, and the same year in which he made 
the viohns bought by Count Cozio. It will thus 
be seen that they were held by Count Cozio to 
have practically the same value as those of An- 
tonio. The condition of this specimen is first 
class — there are no patches or new wood, and the 
tone is of exceptional quality. The varnish is a 
dark brown, tinged with red, and the wood is very 
handsome throughout. Length of body, ij-fl 
in.; width of lower bout, ij4 '"•» width of upper 
bout by^ in. 



Jean Baptiste Vuillaume aP^S 
Rue Croix desPetits Champs (^ 



517 Jean Baptiste Vuillaume, Paris, 1855 

Price, ... 1 500 

A perfect specimen of Vuillaume's best work 

and period. The tone is unusually large and 

resonant, and responds in a manner equal to any 

Cremona violin. The model is Stradivarian, of 



Collection of 1896-97. 137 

about 1708, the back is in one piece, which is a 
piece of beautiful wood. The top is very even 
in grain. The varnish is red-shaded. Condition 
first class. Length of body, 14 inches; width of 
lower bout, 8 inches; width of upper bout, 6j4 
inches. 

507 Januarius Venado, Naples, J 765 

Price, - - - $325 

Very deep, broad, mellow tone, a splendid solo 

instrument. Condition perfect, varnish orange-red. 



Nicojaiu^) HieronyTnus Araa-ti iilius^ac 
hepos AnboniifeeiCinCrenoiia i663 



506 Nicolaus, son of Hieronymus, nephew of 
Antonio, 1663 

Price, - - - $5°o 

Fine model, wood and work very much like 

that of Nicolo, their cousin. Model very artistic 

and designed for stronger tone than most Amati 

instruments. The work is excellent, varnish is 



138 Rare Old Violins. 

brown-red, of rare quality. The tone of this in- 
strument is resonant and responsive and for a 
lady we consider it a most desirable violin. Con- 
dition is very satisfactory. Length, 14 inches 
scant; width of lower bout, 8 inches; width of 
upper bout, 6^ inches. 

436 Lorenzo Storioni, Cremona, 1775 

Price, - - - $350 

An instrument of royal qualities, not only as 
regards tone but wood, varnish and appearance as 
well. It is in perfect preservation, and being of 
rather small model is well suited for use by a 
player having a small hand. 








435 Camillus Camilli, Mantua, J 730 

Price, ... I450 

One of the smoothest and sweetest toned vio- 
lins we have ever had in hand. It is exceptionally 



Collection of 1896-97. 139 

pleasing in this respect, and as for appearance, 
it is as handsome as any one would want to see. 
Its preservation, fortunately is good, and there are 
no bad breaks or fractures to destroy its tone quali- 
ties. The model is well developed and is very 
like an Amati. The color of the varnish is be- 
tween red and brown, and presents an extraordi- 
narily rich appearance. 



Laufeotius 5torioni fecit • 
Gremonae lyj^J'* 



432 Laurentius Stonioni, Cremona, J 780 

Price, - - - ^350 

A fine specimen, good condition and elegant 

tone. Varnish is light orange-red. Wood of 

back and sides very handsome, as is also that of 

the top, which is of even grain. 

431 Antonio Pedrinelli, Crcspano, 1853 

Price, - - - $3So 

This is a royal good fiddle from all stand- 
points. The tone is large, of fine, velvety quality. 



140 Rare Old Violins. 

and the wood and varnish are excellent, and very 
handsome. It has had just enough usage to 
smooth and mellow the tone. 



I FcrJinandusGagUanorili"* 
I Nicolai fecit Neap. 17 



429 Ferdinand Gagliano, Naples, 1762 

Price, - - - $400 

A very fine one. Small model, well shaped, 
handsome wood and varnish, — the latter light 
orange-red, exceptionally good tone. 



r 



Francefco Ruger Jetto Ll Per I 
Cremona iffn>- ' 



Collection of 1896-97. 141 

428 Francesco Ruggeri, Cremona, 1691 

Price, - - - ^425 

Has very satisfactory tone, with a requisite 
amount of both quantity and quality. Its varnish 
is light red, shaded, and is much worn. 

426 Laurentius Storioni, Cremona, J 775 

Price, - - $250 

A perfectly authentic instrument, in good con- 
dition, having a beautiful tone, perfect in every 
position. Model is not large, rather flat, fine 
orange-red varnish, very artistically applied, 
original in all parts. 

425 Joseph and Antonio Gagliano, Naples, J 793 

Price, - - - $400 

In perfect preservation, strong in wood, 
brilliant and effective in tone. 



I Joseph ScAntonius Gagliano , 

\ Tec Ann \yQ^ ] 

\ hi PJateaJicea Cerr/'q/to ■*' 



T/fi=SS9l^==Sr^ 



142 Rare Old Violins. 

423 Fcrdinandus Gagliano, Naples, 1740-55 
Price, _ _ - ^400 

A beautiful and most desirable instrument. 
The model is full and well developed, varnish 
dark red, very soft and lustrous, much finer than 
most Gagliano violins. Tone very mellow and 
soft. A delightful home instrument. 

417 Tomasso Carcassi, Florence, 1748 

Price, - - - $300 

A highly artistic and original production. 

Well made, beautifully varnished, original scroll. 

The model is high, the tone very sweet and 

sonorous. 



Joanne^Fiorenus druidantus 
Fgcjt Bononiae Anno lyj^ 



415 Joannes Florenncs Guidantus, Bologna, 
J 737 

Price, - - $325 

A good example of his work, and well pre- 
served. Tone full, round and powerful ; var- 



Collection of 1896-97. 



143 



nish of a medium red color tinged with yellow. 
The wood is of fine quality and very handsome. 



Tom a.fo Eber/e Fecit 
Nay. 7774t 



4J4 Tomasso Eberic, Naples, 1743 

Price, - - - I250 

A rare and sweet toned specimen. Dark 
brown varnish of fine quality which is almost 
intact. This instrument has had much usage 
and the tone comes easily and is very smooth 
and even in all positions. 

412 Ferdinandus Gagliano, Naples, \76o 

Price - . _ I250 

This is an instrument of exceptional tone 
value, and is a bargain on that account. It is 
very powerful, but at the same time mellow 
and is not in the least harsh. The varnish is 
a lovely golden color, and the wood handsome. 



144 Rare Old Violins. 

4U Florcnus Flofentius, J740 

Price, - - - $35° 

Small model, handsome wood, golden varnish, 
rich smooth tone. The construction of this in- 
strument is first class and its preservation good. 



Sefcaflian Kloz, Geigen Meicher, in 
Mittcnwald anJerlffer, ijSO 



374 Sebastian Kloz, Mittenwald, J 730 

Price, - - $200 

This is the most representative specimen of 
this maker that has ever come to our notice. 
It is beautifully made — the design and execution 
of the scroll a revelation. The wood is of the 
best Tyrolean description, the varnish of a dark 
red color. It belonged formerly in the collec- 
tion of Mr. Rhodes, Leeds, England. 



Collection of 1 896-97. 145 

373 Bernard Fcndt, London, 1820-30 

Undoubtedly one of the greatest of English 
makers. Model, Nicolas Amati, grand pattern; 
workmanship of the highest and most artistic 
character; the color of the varnish is a dark 
orange, the wood is of fine quality, and the con- 
dition of the instrument first class. The tone 
is very solid and elastic. It is a fine solo or 
orchestral violin. 



^9 //^3 -^ 




371 Vinccnzo Panormo, London, 1783 

Price, - - 1 500 

This talented Italian worked, during a part of 

his career, and made his best violins, in London. 

This instrument resembles to a striking extent, 



146 Rare Old Violins. 

the work of Lupot. The varnish is dark red, 
and of fine quality and well put on. The tone 
is very responsive, full and even. It is in a re- 
markably well preserved state, and, in this respect 
excels any other specimen of his make that has 
come to our notice. In making this violin he 
followed the 1690 model of Antonio Stradivari. 

368 Joannes Tononi, Bologna, 1690 

Price, - - - $350 

Beautiful model, Amati type, light varnish, 
elegant wood, neat work, good condition. 




372 Jean Bap. Vuillaume, Paris 

Price, ... I225 
A copy of Maggini, large model, dark red 
varnish. 



Collection of i896-'97. 147 

351 Joannes Gagliano, filius Alessandro, 
Naples, 1736 

Price, - - - I225 

Amber color varnish, good model and wood, 
line preservation. Tone most excellent. 

350 Joeffreda Cappa, SaUxzzo, J 640 

Price, - - - $250 

Amati type, beautiful work, sound condition, 
small model, with a very smooth even tone, 
having plenty of power. A most desirable in- 
strument for a lady, or young violinist. 






349 Johannes Battista Gabrielli, Florence, 1 763 

Price, - - - ?200 

Good specimen of this maker. Light colored 

varnish, handsome wood and model. Tone of 



148 Rare Old Violins. 

nice quality, especially adapted to parlor use. 
Small model and fine workmanship, and in fine 
preservation. 

348 Paola Albani, Palermo, 1692 

Price, - 1 200 

Large Amati model, very rich orange red 
varnish, covering wood of real beauty. Condi- 
tion fair, tone very mellow and brilliant. 

347 Tomasso Carcassi, Florence, 1736 

Price, - 1 1 65 

High Stainer type, light color varnish of good 
quality. Tone strong and resonant. 

345 Nicolas Lupot, Paris, J8I3 

Price, - $500 

Stradivari pattern, dark-red varnish, fine wood, 
good condition, workmanship up to his usual 
high average, tone very powerful and responsive. 
It has been used so much that the tone has 
become wonderfully mellowed. 

343 Vincenzo Panormo, London, 1803 

Price, - - ^300 

A good and perfectly conditioned specimen. 

Rich amber varnish, Stradivari model, beautiful 

wood, especially in the back and sides. Tone 

very fine. 



Collection of 1896-97. 149 

335 Johannes Guadagnini, filius Johannes, J 779 
Price, - - I400 

A fine interesting example of Guadagnini 
work. Resembles that of the father, J. B. 
Beautiful varnish of a rich orange-red covers 
the instrument and the wood is of excellent 
quality, and tone very resonant and brilliant. 

325 Jeof&eda Cappa, Saluzza, 1694 

Price, - - ^250 

A very charming instrument by the above 
celebrated maker. The model, as in the case 
of nearly all his work, is that of Amati. The 
varnish used is of the richest description and of 
a deep-red color, nicely shaded. The work- 
manship is exquisite, and, taken altogether, this 
is an instrument to be very proud of. The tone 
is a deep rich, fine mellow one. 

324 Santuso Lorezzo Maria, Milan, 1738 

Price, ... $250 
Small model, of Bressian character, similar in 
some respects to the work of Gasparo de Salo. 
Elegant wood, as regards appearance and acous- 
tic properties. Rich amber-brown varnish, and 
extremely pleasing in tone. Just the instrument 
for a young lady to use, because the model is 
small and the tone is very large and responsive. 



150 Rare Old Violins. 

A Quartette of Gaglianos 

Price, _ _ - ^2,000 

We here offer a string quartette, made up of 
Gagliano instruments, having one quality of 
tone. 

To lovers of quartette playing, who understand 
the desirability of unity, both in execution and in 
quality of tone, a kit of this kind will appeal. 

All four instruments are in the best possible 
preservation, and are in exact playing order. The 
character of both wood and varnish is uniform 
throughout. 

It consists of the following : 

1 . Violin, by Nicolo Gagliano, filius Alexan- 
dra, Naples, 1769. 

2. Violin, by Joseph Gagliano, filius Nicolo, 
Naples, 1776. 

3. Viola, by Joseph Gagliano, filius Nicolo, 
Naples, 1788. 

4. 'Cello, by Ferdinand Gagliano, Naples, 
1748. 

These constitute, we believe, the only quar- 
tette of its kind in America. 

J Henry Jacobs, Amsterdam, 1 7 1 2 

Price, - - - $325 

Pupil and son-in-law of Niccolo Amati. Good 
condition, large tone. Hill & Sons certificate. 



Collection of 1896-97. 151 

5 Qassic German School, I790-I800 

Price, _ _ _ 1 200 

Maker unknown. 

6 Gassic German School 

Price, - - I275 

Beautiful Guarnerius model, wood and varnish. 
Very mellow, full, round tone. 

7 Joseph KIoz, Mittenwald, 1740 

Price, - - - $300 

Fine condition, original varnish and scroll, large 
tone. The finest specimen of this maker we 
have seen. 

8 Sebastian Kloz, Mittenwald, 1750-60 

Price, _ - - $225 

Artistic work, good condition, very attractive 
appearance. 

10 Petrus Guarnerius, filius Andreas, Venice, 
J760 

Price, _ _ - I400 

Fratres Joseph. Perfect preservation, powerful 
tone. 



152 Rare Old Violins. 

U Jacobus Stainer, Absom, 1650-70 

Price, - $650 

A very handsome specimen. From the Clark 
collection. 

12 Sebastian KIoz, J 750-60 

Price, ... I225 

Amati model. Fairly well preserved, beautiful 
tone, fine appearance. 

J4 Old English School, 1750-60 

Price, - - - I150 

Probably Airton. Beautiful tone, workmanship 
of very high order. 

15 Andreas Guarnerius, 1760-70 

Price, - - - $9S 

A good Tyrolean copy. 

1 6 Antonius Stradivarius, 1 690- 1 700 

Price, - ^135 

Copy. Long model, good tone, especially for 
orchestral work. 

J7 Jacobus Stainer, J840-50 

Price, - I75 

A fairly good copy. 



Collection of 1 8 9 6— 9 7 • 1 5 3 

J 8 Joannes Florenus Guidantus, J7J9 

Price, - - - $3^5 

Bologna. Fine specimen, good condition, ex- 
cellent for solo work. 

\9 Joseph Gagliano, Naples, 1766 

Price, - - - $35° 

Filius Nicolas. Entirely original, a very fine 
specimen. 

20 Jacobus Stainer, Absom, J 670 

Price, - - ^450 

Copy, by a pupil, nearly as well made, as good 
in tone, and as beautiful as an original. 

2 J Nicolo Amati, Model Tyrolean, Copy, 
1740-50 

Price, - - - $100 

Very fine, good tone, small model, suitable for 
a lady. 

22 Jacobus Stainer, Absom, 1669 

Price, - - - $35° 

Copy by a pupil. This is a very close reproduc- 
tion, and is almost as fine in every respect as a 
Stainer. The tone is very strong, and the wood. 



154 Rare Old Violins. 

workmanship and varnish are all excellent. A 
first-class solo instrument. 

24 Amati Copy, Tyrolean, 1700-20 

Price, - - - ^150 

An instrument of great merit. Good tone. 

27 Italian Model, 1760-70 

Price, - - I125 

A charming home instrument. 

28 Joseph Guarnerius del Jesu, 1 790- 1 800 

Price, - - - ^150 

French copy. Good, strong tone, condition 
first-class. 



Jo Bett5 No 1 
near Northgate the 

Ro_yal Excliange 
London Vl 



Collection of 1896-97. 155 

29 John Bctts, Royal Est., London, 1700 

Price, - - - $i7S 

A first-class specimen. 

30 Le Breton, 180040 

Price, . _ _ ^65 

Possesses a good appearance, strong tone. 

32 Henri Derazey, 182040 

Price, - - - ^85 

Carefully finished and has a strong tone. 

33 KI02, 1760 

Price, - - - I125 

Characteristic appearance, good tone. 

35 Italian Model, 1750-60 

Price, - - - $100 

Made in Florence. A fine instrument for en- 
semble work. 

36 Thomas Perry, Dublin, 1776 

Price, - - - ^125 

(No. 723). Good tone, excellent finish. 



156 Rare Old Violins. 

37 Kloz, 

Price, - - $iS° 

Grand Amati pattern, well preserved. 

38 Stradivarius, 1770-1800 

Price, - - I85 

Old English copy. 

39 Antonius Guagnani, J 783 

Price, - - I165 

Liburni (Leghorn). Beautifully made, entirely 
original. 

4 J Italian Model, 1740-50 

Price, - - - I150 

Copy of Tomasso Balestrieri, in fine condition. 

42 Walter Colton, Brooklyn 

Price, - - - ^150 

A well-made, mellow-toned violin. 

44 Jean Baptiste Vuillaume, 1844 

Price, - - ^100 

No. 164. Hill & Sons' certificate. One of his 
St. Cecilias. 



Collection of 1896-97. 157 

48 Amati Copy, 1740-50 

Price, r - - I115 

Shows evidence of careful work. German school. 

50 Caspar da Salo, Brescia 

Price, - - I125 

An old French copy. Very fine, quite Brescian 
in appearance. 

5 1 Vincenzo Jario, Naples, 1 800-20 

Price, - - - |i6o 

An exceptionally good instrument. Large model. 

52 German School, 1760-70 

Price, _ _ _ 1^0 

Fair quality. 

53 German School, 1760-70 

Price, - - - 1 50 

Copy of Stradivari. 

57 StainerCopy, I790-I800 

Price, - - - $So 

Very fair quality. 



158 


Rare Old Violins. 




58 


Stainer Copy, 1760-70 

Price, 
A good example. 


$100 


60 


Woodlai England, J82040 

Price, _ _ - 

Possesses a good, carrying tone. 


$14.0 


64-74 'CeUos 

See under that heading. 




75 


KIoz FamUy, 1760 

Price, _ _ _ 

Wood and varnish very good. 


$12S 


76 


Jean Bap. Vuillaume, Paris, 1849 

Price, - - #85 
St. Cecilia. Genuine throughout. Hill & Sons' 
certificate. 


79 


Soulier a Paris, 1830 

Price, 
A fair specimen. 


tss 


80 


Tyrolean Model, 1760 
Price, 
Unknown make. Rich tone. 


$100 



Collection of 1896-97. 159 

82 Andreas Ferdinandus Mahr, 17- 

Price, - - ^125 

In the Italian style. 

83 German Model, 1800 

Price, - _ _ ^gQ 

Good tone. 

86 Michael Gerani, Florence, J 735 

Price, - - - 1 140 

A well-made instrument. 

87 Classic Tyrolean School, J 740-50 

Price, - - - ^150 

Model and material well selected. 

88 Paulus Ateilfer, 1763 

Price, - - - ^120 

Italian style, good tone. 

89 Belongs to the Albanus family, J 702 

Price, - - - I125 

Good carrying quality. 

90 Christopher Fredrich Hunger, 1760 

Price, - - $So 

Strong, clear tone. 



i6o 


Rare Old Violins. 


91 


Amati Model, 1760 

Price, - - - $125 
Fairly good copy. Sweet, mellow tone. 


93 


German School, 1800 

Price, _ _ _ ^50 
Very good condition. 


n 


Johann Hopf 

Price, _ _ - ^£o 
Genuine. 


97 


Anton Kraus, Innspruck, 1807 

Price, - - - I55 


98 


George Schonfelder, G-emona, 1790 

Price, - - - I125 
A good instrument. 


99 


French Model, J800 

Price, - - - $85 
In good preservation. 


100 


Amati Model, 1740 

Price, - - - ^120 
Well made throughout. 



Collection of i896-'97. i6i 

102 Stradivarius Model, 1830 

Price, _ _ _ ^80 

French copy. 

J04 Phillipus Srafnir, Antwerp, J 750-60 

Price, _ _ _ |6o 

Grand Amati pattern. Strong tone. 

J07 Michael KI02, Mittenwald, 1750 

Price, - - - $75 

In good condition. 

no Ferdinando Gagliano, Naples, J 740 

Price, - - $75 

One Half Size. Entirely original. A fine 
specimen. 

J J I Mittenwald School, 1 760-70 

Price, - - - $75 

Good tone. 

U2 Italian Model, 1740-50 

Price, - - 1 1 00 

Well preserved. 

U4 Joseph Guarnerius, 1820 

Price, - - - $75 

French copy. 



1 62 Rare Old Violins. 

U 6 Lorenzo Vcntapane, Florence, 1 780 

Price, - - - ^100 

Handsome model. Good tone. 

118 Stainer Copy, J820 

Price, - - - $ioo 

Good for orchestra work. 

n? Viennese Model, 1820 

Price, - - - ^loo 

Strong tone. 

120 Salzard, 1820-30 

Price, - - - $6o 

An original. Strong in wood. Amber varnish. 

t22 Italian Model, 1760-80 

Price, - - ^75 

Good strong tone. Dark varnish. 

123 Guarnerius Model 

Price, - - $iio 

Old French copy. Well made. 

J24 Gaspar da Salo, Brescia, 1780-90 

Price, - - - I ICO 

French copy. Good condition and tone. Dark 
varnish. 



Collection of 1896-97. 163 

126 Unknown Maker 

Price, - - - 1 160 

Very beautiful workmanship, varnish and wood. 
Tone mellow and responsive. A good instru- 
ment for solo work. 

127 Maggini Model, 1820-30 

Price, - - - 1 50 

French copy. Fair appearance and tone. 

128 German Type, 1800-20 

Price, - - $90 

Good wood and varnish. 

129 Amati Model, 1750-60 

Price, - - $150 

German copy. Very strong, clear, and pene- 
trating tone. 

J30 Johann Wehrll, Vienna, 1775 

Price, - - $75 

A good orchestra violin. 

13 J Friedrich Aug. Glass, 1850 

Price, _ _ - I45 

Just the thing for parlor playing. 



164 


Rare Old Violins. 




132 


Jean Lottfs Mast, Paris, 1720-60 
Price, _ _ _ 

A well-made instrument. 


I85 


133 


Old French Model 
Price, 

Good tone and appearance. 


hs 


135 


Old German Model, 1740-50 
Price, 

Tone and wood very excellent. 


$ss 


}38 


Andreas Guamerius 
Price, 

Italian copy. Beautiful clear tone. 


|ioo 


139 


Amati Model, 1760 

Price, _ _ _ 
French copy. 


$9° 


140 


Amati Model, 1750 

Price, _ _ _ 
Old German copy. 


$100 


141 


Vincenzo Panormo, Paris, 1791 
Price, _ _ _ 
Genuine throughout. Beautiful tone. 


$aoo 
Excel- 



lent for soloist. 



Collection of 1 8 96-*97' 165 

142 Ignatius Christianus, Vienna^ 1767 

Price, - - " ^75 

Good condition, mellow tone. 

143 Stradivarius Model, 1790 

Price, - - - ^75 

Classic French style. 

145 Jean Baptiste Vuillaume, Paris, 1840 

Price, - - - *75 

St. Cecilia. Stradivarius. model. Red varnish. 

151 German School, 1820 

Price, - - ^40 

Unknown maker. 

153 Bohemian School, 1760-70 

Price, - - - $65 

Well put together. 

154 Tyrolean Specimen, 1775 

Price, - - - ?45 

A good violin for a beginner. 

157 Mittenwald School, 1825 

Price, - - -Us 

Model well handled. 



1 66 Rare Old Violins. 

160 English School, 1780-90 

Price, ... ^40 

A good instrument for practice. 

161 Tyrolese Specimen, J 800 

Price, - - - 1 50 

Tone quite responsive, 

J 63 JohannUhlrichFichtel, J758 

Price, - - - ?75 

Mittenwald. 140 years old. 

166 Amati Model, 1 790- J 830 

Price, - - - $60 

German school. 

167 Julius Casar, Roma, 17- 

Price, - - - $60 

Large model. 

J 8 J Caspar Duiffoprugcar, 1 780- 1 800 

Price, - - . |ioo 

(Brescia.) Old French specimen. Highly 
ornamented, back and sides. Carved man's 
head, sweet tone, good condition. 



Collection of 1896-97. 167 

185 Amati Model, J 760-70 

Price, ... ^85 

Good Tyrolean Copy. 

193 German School, I770-I800 

Price, - - • $75 

Very Italian in character. 

195 Italian Model, J800-I0 

Price, - - - $75 

In fair condition. 

198 Gagliano Type, Naples, 1740-60 

Price, - - - I150 

Possesses a clean, penetrating tone; will im- 
prove with use. 

201 Tyrolean School 

Price, - - - $75 

In good condition. 

213 Copy of Stainer, 1740-50 

Price, - - - $165 

Probably by a pupil of that great master. Small 
size; very even, smooth, full tone. Dark 
brown varnish. 



1 68 Rare Old Violins. 

2J5 Andreas Mayerhoff, Mittenwald, 1749 

Price, - - - I125 

Good Tyrolean violin by a reputable maker. 

217 Franz Warmie, Mittenwald, 1795 

Price, - - - $100 

Workmanship characteristic of the Tyrolean 
school. In good preservation. 

218 Italian Maker 

Price, - - - $200 

Model that of Nicolo Amati, grand pattern. 
Tone broad and of fine quality. 

2J9 French Model, 1820-30 

Price, - - $35 

Strong tone. 

220 A. Mongel, Turin 

Price, - . - ^40 

French school. Good workmanship and tone. 

229 Flat Model 

Price, - - - $30 

Fair tone. 



Collection of 1 896-'97- 169 

230 By Aegcdius KI02, Mittenwald 

Price, - - 1 1 40 

Genuine specimen. Beautiful quality of tone. 
Medium size. Dark brown varnish. 

231 Johann George Grutter, Tyrol, 1793 

Price, . . - ^65 

Dark red varnish. Good parlor instrument. 

232 German School 

Price, - - - $100 

The work of an unknown maker, date 1 800-20. 
Good in tone, Stainer model. A choice instru- 
ment for a lady's use. 

234 Old German School 

Price, - - - ^60 

Good vibrant tone. 

235 Stradivari Cxypy 

Price, - - - I90 

Made in Tyrol about 1760. 

236 German Specimen 

Price, - - 1 1 00 

An instrument of the best German character, 
having a beautiful quality of tone, very easy to 
play. 



lyo Rare Old Violins. 

237 Mittenwald Specimen 

Price, - - - $60 

Stradivari pattern, 18 10— 20. 

238 German Model 

Price, - 1 1 00 

High grade solo violin made about 1830. Good 
condition. 

239 Franz Simon Hof, J 790-1 800 

Price, - - - $75 

Dark red varnish, tone quite strong. 

243 Joannes Baptiste Guadagnini 

Price, - - - ^250 

A remarkable French copy, date about 1760— 
1770. This instrument approaches very closely 
the work of Guadagnini, and shows its maker 
possessed great skill. It is to be regretted that 
the maker did not put his name on this violin, as 
he is certainly entitled to the highest praise. 

246 Carl Ludwig, Berlin, 1766 

Price, - - I75 

Amati form, powerful tone. 



Collection of 1896-97. 171 

250 French Pattern 

Price, - - - ^50 

Made about i860. Good model, brown varnish, 
effective tone. 

255 German School 

Price, - - - 1 50 

Broad, large Amati model. Top shovi^s very 
wide grain, penetrating tone quality, appearance 
its only drawback. 

258 Mathias Thiers, Vienna, J 820-30 

Price, ... ^85 

A fair specimen, large model, good wood, ex- 
cellent varnish. 

269 Joseph Guarncrius del Jesu, Cremona, 
J 735 

Price _ . _ ?i75 

A beautiful French reproduction. This violin 
has a reputation, and, in the South, particularly 
in Tennessee, is very well known as the Rosen- 
planter Violin, from the fact of its having at one 
time belonged to a famous musician of that 
name, who died in Memphis some years ago. 
This violin represents one of the highest types 
of French violin-making of the early part of this 
century. Its tone qualities are superb. 



172 Rare Old Violins. 

300 Perry & Wilkinson, Dublin, 1779 

Price, - - - $100 

(Their number 2320) Violins by these makers 
are becoming very scarce. Our commissioner 
and buyer visited Ireland last summer, for the 
purpose of procuring the few specimens we 
possess. 

301 Thomas Perry, Dublin 

Price, - - - $75 

(No. 3004) made by him after his partnership 
with Mr. Wilkinson was dissolved. This is an 
excellent specimen of his make, and possesses as 
well a good tone. 

302 Perry & Wilkinson, Dublin 

Price, - - - $75 

A good specimen. Excellent tone. 

303 Old German Model 

Price, - - - $30 

Sweet tone quality. 

304 Perry & Wilkinson, Dublin, 1809 

Price, - $100 

Very good appearance, condition and tone. 



Collection of 1896-97. 173 

305 English School, Probably a John Bctts, 

Royal Exchange, London 
Price, - - - $125 

Has a very sweet, mellow tone, — a very desir- 
able instrument; beautiful workmanship and fin- 
ish; handsome wood. 

306 Joseph Kloz, Mittenwald, 1740 

Price, - - $100 

Good condition and tone. 

307 German Model, Date 1800 

Price, - j56o 

A serviceable instrument. 

309 Walter Plain, Glasgow, 1840-60 

Price, - - $85 

Brown varnish, good work. 

3 JO Tyrolean Specimen, 1 800- JO 

Price, - - - $50 

Repair label dated 1 864. Good tone and condi- 
tion. 

3J J M. Neuner, Mittenwald 

Price, - - $45 

Good Violin for a lady; sweet tone. 



174 Rare Old Violins. 

3J2 French Specimen, J 800-30 

Price, - - - $7S 

Amber-colored varnish, good model. Suitable for 
orchestral work. 

313 Italian Specimen, 1840-60 

Price, - - - ^40 

Very sweet tone. 

317 Good English Model 

Price, - I65 

About 1840. Amber-yellow varnish, strong 
tone. 

3J8 German Pattern 

Price, - 5S80 

Good model and tone, excellent condition. A 
musician's instrument. 

319 Scandinavian School 

Price - - - $35 

Work rugged and characteristic, model that of 
Maggini. Mellow tone. 

320 Giovanni Paola Maggini 

Price, - _ - $js 

German copy about 1820. Pleasing tone, suit- 
able for parlor playing. 



Collection of 1 896- 97- ^75 

326 French School 

Price, - - - I135 

About 1 800. Repaired by Carl Shonger, Erfurt, 
1839. Good model, brown varnish, smooth, 
mellow tone. 

329 Tyrolean School, 1760-80 

Price, - - - I75 

Amati model, very fine tone, 

330 Italian School 

Price, - - - $45 

Dark red-brown varnish. Strong, clear tone. 

332 Gennaro Gagliano, Naples, 1752 

Price, - - - $175 

A genuine specimen. Varnish of an amber 
color and well preserved. It has a very strong, 
mellow tone, for which all the instruments of 
this maker are famed. Condition good. 

333 Italian School 

Price, - - $125 

Probably by a pupil of G. B. Guadagnini, whose 
work it resembles. Fine tone for concert work. 



176 Rare Old Violins. 

334 Bernard Simon Fcndt, London, J 792 

Price, - - - $125 

A very noted English maker. His violins are 
highly prized abroad and in this country for their 
artistic character. Dark-red varnish, handsome 
wood, good preservation. 

336 Franciscus Medard, fecit Parisus, 18 10 

Price, - - $SO 

Good model, varnish, wood and workmanship. 

338 German School 

Price, - - - $50 

Maker unknown, about 1830-40. Good strong 
tone, desirable for orchestral playing, dark-red 
varnish. 

339 Old English School 

Price, - - - $60 

About 1 800. Good model and wood, varnish of 
a brown color, tone smooth and mellow. 

340 Jacobus Stainer, Absom, 1663 

Price, - - - $55 

By a pupil. Good model, perfectly Staineresque 
in character, charming tone, suitable for parlor 
playing. The varnish is amber color. 



Collection of 1896-97. 177 

352 German School, about 1800 

Price, _ _ _ i^o 

Large model and powerful tone. Golden-yellow 
varnish. 

355 Qiarles Le Blanc, Paris, 1820 

Price, - - - I75 

A good instrument. Stradivarius model. Dark 
red varnish. Handsome wood. Strong, clear tone. 

358 Tyrolean School 

Price, - - - ^85 

Made about i76o,and repaired in 1866 by Luigo 
Lepri di Griffio, Florence. Varnish brown, of 
fine quality. The tone is fairly strong, suitable 
for a lady virtuoso. 

359 J. Fabre, Paris, 1845 

Price, - - - $65 

A well known French maker. Yellow-brown 
varnish, large Stradivarius model, strong, pene- 
trating tone. 

361 Jacobus Staincr, Absom, J 64 1 

Price, - - I150 

A copy by one of the Kloz family. Large 

dimensions, beautiful model, handsome wood. 



1 78 Rare Old Violins. 

orange red-brown varnish, shaded. Very fine 
tone, perfect preservation. 

362 N. Couterieux, Toulon, 1842 

Price, - - - I ICO 

This luthier's work is of a most artistic charac- 
ter, rivaling any one of the great French masters. 
The tone of this instrument is smooth, mellow, 
and yet powerful. Varnish, a rich amber-red ; 
wood, very handsome. 

364 French School 

Price, - - |ioo 

About 1840-50. Jos. Guarnerius model. Simi- 
lar to the original in appearance, fair tone. 

365 French School 

Price, - - - 1 50 

About 1 840, made at Mirecourt. 

370 German School 

Price, _ _ _ I25 

Made in Saxony, i860. 

375 French School, 1830 

Price, - - - 1 50 

Good model, fair tone. 



Collection of 1896-97. 179 

376 French School 

Price, - - - 1 50 

Copy of Stradivari, about 1820. Strong, clear, 
tone. 

377 German School 

Price, - - - 1 50 

Copy of Nicolo Amati, 1800-20. A violin of 
rare quality. 

379 Tyrolean School 

Price, - - I45 

About 1800. Excellent tone quality. 

380 German School 

Price, - - - I38 

Copy of Amati. Sweet tone. 

38i Old French School, t830 

Price, - - - $35 

382 French School 

Price, - - - $45 

About 1840. Stradivari model, clear tone, a 
student's violin. 



i8o Rare Old Violins. 

383 Old German School 

Price, - - - $31 

Sweet, soft tone. 

384 German School 

Price, _ _ _ ^25 

About 1840. Responsive tone. 

385 Old French School 

Price, - - - 1 100 

Yellow-brown varnish, Amati model, powerful 
tone. 

390 Old English School 

Price, - - - $3S 

Made about 1850. Flat model, brown varnish. 

391 German School 

Price, - - - $38 

Good tone, small model. 

392 German School 

Price, - - - I34 

Robust tone. 



393 
394 

396 

397 

40} 
404 
405 



Collection of ] 


[896-97, 181 


Swedish Work 




Price, 


- $^S 


About 1825. 




German School 




Price, - - - $35 
Made in Markneukirchen, about 1846. Flat 
model. 


French School 




Price, 
Copy of Guarneiius. 


- ■ - $35 
Dark red varnish. 


German School 




Price, 

Strong tone. 


- $34- 


German School 

Price, 

Fair character. 


- $55 


German School 
Price, 
High grade instrument 


I50 

:. Made about 1830. 


German School 

Price, 
Saxon violin, very old. 


- $25 



1 82 Rare Old Violins. 

407 French School 

Price, - - - $55 

About 1820-30. Fair tone. 

408 German School 

Price, - $60 

Good large Guarnerius model. Brown varnish, 
strong tone. Date 1760—70. 

413 Velsandro Mezzari, 1732 

Price, ... 1 200 

The violins of this maker are little known in 
this country, probably but two or three speci- 
mens to be found here. The model followed 
is that of Niccolo Amati, Cremona, 1645; v^''" 
nish is of excellent quality, of a brown-red color. 
The tone is of fine Italian quality and of con- 
siderable volume, suitable for solo work. 

4J6 Italian School, I780-'90 

Price, _ _ _ ^200 

Probably David Techier, of Rome. It was re- 
paired in Rome in i860, by one of the Techlers, 
a descendant of its maker. Wood, varnish and 
workmanship of a high order. Tone agreeable 
in quality, and also very strong. This is a de- 
sirable instrument for either dilettante or con- 
noisseur. 



Collection of 1 896-97- 183 

418 Giov. Baptistc Ruggeri, G'emona, 1690- 

1720 
Price, _ _ _ ^200 

Genuine in all parts, plenty of wood, excellent 
varnish of a dark brown color. Possesses a very 
mature,smooth tone, delightful for parlor playing. 

419 Ferdinando Gagliano, Naples, 1779 

Price, - - - $225 

None of the Italian makers have risen more 
rapidly in the esteem of all critics than the Gag- 
liani. This on account of his sterling tone 
qualities. The preservation of this specimen is 
all that can be desired — the varnish is of a brown- 
amber color, and the tone is melodious and of 
proper power. It is of that carrying nature most 
desirable in concert work. 

422 Tomasso Carcassi, Florence, J 738-50 

Price, - - - ^300 

A handsome specimen. The violins of Carcassi 
invariably possess the pure Italian tone, and as 
their price is not yet dear, they come within the 
reach of many who must have a suitable solo 
instrument and still cannot afford a high price 
for one. 



1 84 Rare Old Violins. 

427 Italian, 1760-70 

Price, - - - I125 

Small pattern, varnish light-brown, workman- 
ship good, tone mellow and rich, easy to play. 

434 P. Grancino, Milan 

Price, - - ^200 

A desirable instrument from a tonal standpoint, 
and equally good in appearance. 

437 Joseph Gagliano filius Nicolai, Naples, 1 789 

Price, - 1 2 00 

Genuine in all respects. An excellent instru- 
ment for solo or orchestral work. 

438 Angus Qaudot, Paris, J 800 

Price, - ^75 

Yellow varnish, large outline, good tone. 

441 German School, 1820-30 

Price, - - 1 50 

Fair tone. 

442 German School, I780-'90 

Price, - - - $50 

Copy of Amati. Dark-brown varnish, agreeable 
tone. 



Collection of 1 8 9 6-' 9 7 . 185 

443 N. Amati, Q-emona 

Price, - - 1 60 

German copy, about 1830. Brown varnish. 
Label reads, " Leopold Widhalm, Niirnberg 
fecit a, 1 77 1." 

446 Antonius et Hieronymus Amati, Cremona 
J 600-30 

Price, - - 1 2 50 

Top, sides and scroll genuine. For any one 
wanting a good toned violin, here is an oppor- 
tunity of securing a masterpiece. Its tone is of 
the loveliest quality. It is resonant, full and 
elastic and is a first-cIass concert instrument. 

449 German School, I800-I830 

Price, - - - ^40 

Amati model. 

450 German School, 1860-70. 

Price, - - - $15 

453 Tyrolese School 

Price, - - ?ioo 

About 1760. Possesses good appearance and 
tone. 



1 86 Rare Old Violins. 

455 German School 

Price, - - - $35 

Made in Saxony 1840—50, 

457 Same 

Price, - - - 1 20 

460 Tyrolesc School, 1760-70 

Price, - ^50 

Guarnerius copy. 

46 J German School, 1850-60 

Price, - - $3j 

Quality of tone smooth and sonorous. 

463 Tyrolese School 

Price, - - - ?75 

Copy of Amati. Sweet mellow tone, work- 
manship good, varnish yellow tinged with brown. 

464 German School 

Price, - - - I30 

Made in Saxony 1830. 

466 German School 

Price, ^ - - - $40 

Made in Mittenwald 1780-90. Large pattern. 



Collection ofi896-'97. 187 

467 German School 

Price, - - - $50 

An old instrument. 

470 German School 

Price, - - 1 60 

An old instrument, 1760—80, Good model, 
brown varnish, strong tone. 

471 Geo. Adam Homalka, Warsaw, J 832 

Price, _ _ _ I62 

Excellent model and workmanship. 

472 German School, 1820-30 

Price, - - ^25 

High model, brown varnish. 

473 Eduard Hiedegger, Luiz, 1 800- 1 820 

Price, - - 1 50 

Model high, after the style of J.Stainer. Brown 
varnish, sweet tone. 

474 Bohemian School 

Price, - - - $60 

Made in Prague, about 1 830. Light-colored var- 
nish, good work. 



1 88 Rare Old Violins. 

475 Joseph Greinbcrgcr, 1830, fecit Urfurt 

Price, _ _ _ i^o 

Strad. copy. Dark brown varnish. 

476 French School, 1830-40 

Price, - - - $35 

Good tone and model. 

480 German School, 1820-30 

Price, - - $35 

Strong tone. 

482 German School 

Price, _ _ _ ^25 

Small model. 

483 German School 

Price, - - I40 

Old Saxon instrument. Fair appearance, clear 
tone. 

488 German School 

Price, _ _ _ ^60 

High grade old instrument, 1760—70. 

489 Same Type as No 488 

Price, - - $4.0 

Made about 1830. 





Collection of 1896-97. 


189 


495 


Same type as 494 
Price, 


- I4S 


497 


Same type as 494 
Price, 


- $3^ 


499 


German School, 1850-60 
Price, 
Fair quality. 


- $25 


502 


Amati Model 
Price, 
Tyrolean make. 


- $5° 


503 


Old German School. 
Price, 


- ?So 



5U Jacobus Stainer, Absom, 1670 

Price, - - - ^175 

A genuine specimen, carved head, good preser- 
vation, sweet tone. 

513 Italian School, 1760-70 

Price, - - -^125 

Made in Milan. Good condition, sweet, mellow 
tone. 



ipo Rare Old Violins. 

514 Niccolo Amati, Cremona, 1645 

Price, _ _ _ I125 

A pleasing Tyrolean copy. Beautifully made, 
dark-yellow varnish, general condition excellent, 
strong vibrant tone. 

519 French School 

Price, - - ^25 

Made at Mirecourt, 1 850. 

520 French School 

Price, - - - $3^ 

About 1840. Reddish-brow^n varnish. Guar- 
nerius model, strong tone, of fair quality. 

521 Amati Model 

Price, - - $175 

This is a rare specimen of what may be called 
the Classic Tyrolean School. It comes very 
close to the Florentine instruments of the best 
grade. The workmanship is fine, the varnish, of 
a dark red color, is of choice quality. The tone 
is very sweet and even, excelling in these quali- 
ties rather than in strength. 

523 Granjohn a Paris, J 830 

Price, ^ _ _ - I75 

A copy of Stradivari. This maker enjoyed quite 
a reputation in Paris, in his time. 



Violas 

272 Francesco Ruggeri, Cremona, 1690 

Price, - - $300 

A beautiful instrument, both in tone and appear- 
ance. It is in good condition, and the tone is 
very mellow, responsive and powerful. It is 
medium size, (i6 inches is the length of the 
body), and the upper bouts being small, after the 
Amati style, it is easy to play. The tone is of 
the most agreeable quality. The wood is very 
handsome, especially back and sides — the varnish 
is a brown, tinged with dark-red. 

95 Carlo Tononi, Bologna 

Price, - - ^165 

A large size instrument, i6^ inches long. The 
varnish is a dark red or brown, of very rich ap- 
pearance, the wood is of a very high order, and 
the condition first class. The tone is brilliant, 
far carrying and of a very rich character. 

61 Franz Anton Wild, J 773 

Price, - - - ^100 

Big tone. Beautiful model, 
igi 



192 Rare Old Violas. 

59 Qassic German, 1820-30 

Price, - - - 1 1 00 

Very fine. 

184 Amati Model, 1760-70 

Price, - - - $100 

Viennese specimen. Very fine, strong tone. 

31 Petnis Rosari, J 742 

Price, - - $Ss 

(Small size.) Good tone. 

270 Henry Hcberlein 

Price, - - 1 100 

Very fine. Good size. Maggini model. Birds- 
eye maple back and sides, dark brown varnish, 
great tone, in the best playing order. 

327 Geo. Paolo Maggini, Brescia 

Price, - - - ^125 

A fine old French copy. Medium size, fine ap- 
pearance, exquisite tone. 

448 Joseph Guarnerius Model 

Price - - _ ^125 

An old French reproduction, 1 800. Length of 
body iS/i inches, very well constructed, dark- 
brown varnish, perfect condition, big tone. 



Collection of 1 896-97' ^93 

486 Gio. Paolo Maggini, Brescia 

Price ... ^100 

Good reproduction by a French maker, date 
about 1800. Ihlaid back, two rows of purfling, 
dark-red varnish. Very fine tone. 



Violoncellos 

We find it very difficult to keep a stock of good 
'cellos on hand, especially of the cheaper grades. The 
demand has been so great of late years and Europe has 
been drawn on to such an extent that our source of sup- 
ply has about failed us. Of broken-up, worthless old 
shells there are many, but they are not worth the cost 
of repair, and we consider them unfit to recommend to 
our customers. 

Gennaro Gagliano, Naples, 1715-60 

Price ... $700 

This magnificent instrument was secured by our 
collector on one of his recent trips. It is of 
beautiful dimensions, and one of the most agree- 
able to play we have had. The character of the 
tone is chiefly remarkable for its mellowness and 
smoothness, but it has at the same time extraor- 
dinary carrying powers. The varnish is a dark- 
red, worn down by the usage that comes from 
age, and it presents a fine appearance. The wood 
in back and sides is beautifully figured, and the 
top is of a straight medium fine grain. The scroll 
is large and finely carved ; it is far more artistic 
194 



Collection of 1 896-'97' ^9S 

than is usual with Gagliano scrolls. The model 
is purely Stradlvarian and is well worked out in 
every detail. 

222 Pierre Silvestre a* Lyon, 1835 

Price, _ _ _ ^500 

Grand model and workmanship. Beautiful wood 
and varnish. The tone is of immense power 
and of most beautiful quality. 

74 G. B. Guadagfinini 

Price, - - $300 

A fine French copy of 1760-80. Excellent pres- 
ervation, sweet, mellow, full tone. Red varnish, 
medium size. 

209 Gennaro Gagliano, Naples, J 750 

Price, _ _ _ I400 

Perfectly preserved, original scroll and varnish, 
beautiful work, robust tone — a first-class solo 
instrument for an artist who requires good quality 
and volume of tone. 

64 Stradivarius Model, 1800-20 

Price, - - - I225 

Old French. Strong and robust throughout, thick 
heavy tone. 



196 Rare Old Violoncellos. 

65 Louis Noebe, Bad-Homburg, 1 89 1 

Price, - - - ^250 

Strong tone. 

67 Nicolas Gagliano, filius Joannis, 1759 

Price, - - - $150 

Strong tone, good preservation. 

68 French School, 1800-20 

Price, - - - J 1 00 

Beautifully made. 

69 F. Contal, Mirecourt, 1800-30 

Price, - - - 1 1 50 

(France.) 

206 One-Half Size 

Price, - - ^85 

Made about 1750. Very powerful, free tone. 

208 Leopold Widhalm, Niirnbcrg, 1770 

Price, - - $300 

Amati model,dark red varnish, fine, smooth tone, 
A desirable 'cello for a lady pJayer. 

22 J Johann Adolph Riechel, 1779 

Price, - - ^125 

High model, sweet mellow tone. 



Collection of 1896-97. 197 

226 One-Half Size 

Price, - - - $65 

German 'cello, made about the year 1800. Sweet 
tone, easily played. 

524 Old English ^Cello with Forster Label 

Price, - - - $100 

Stradivari model. Rich red varnish, even mellows 
tone. 

367 Fine Old German, 1800-20 

Price, - - - ^60 

366 Italian 'Cello 

Price, - - - I150 

Made about 1780. Flat model. Dark-red var- 
nish. Excellent tone. 



Fine Bows for the Violin; by Old 
Masters 

220 Francois Tourte 

Round, large head,very strong and elastic ;^ 150.00 

219 J. B. Vuaiaume 

Round _ _ _ ;g30.00 

200 Toufte I'aine 

Good condition _ _ _ ^^25.00 

203 Francois Lupot 

Round stick, good condition - - 1^50.00 

204 J. B. Vaillaumc 

Gold mounted, tortoise-shell frog - II50.OO 

208 Dominique Pecatte 

Fine condition - - _ ^40.00 

2(2 Francois Tourte 

Round. Good condition. Wonderfully good play- 
ing qualities - _ - ^i 00.00 

102 J. B. Vuillaame 

Good stick, nicely mounted - - ^25.00 
198 



Collection or 1896-97. 


199 


n? J. V. VuiUaome 

Good stick, nicely mounted - 


;J!30.oo 


H2 Jean Dominique Adam a' Paris 
Octagon 


$40.00 


J30 Francois Lttpot 
Round 


$30.00 


126 Francois Lupot 
Octagon 


$30.00 


222 James Tubbs, London 

Very fine - - - 


$30.00 


22) Simon 

1830-40. Gold mounted - 


$40.00 



Bows for 'Cellos, by the Old Masters 

207 Francois Toartc 

Round stick, very strong and elastic. Perfect 

condition - - ;J>ioo.oo 

20J Fine old French _ _ - ;^2o.oo 

202 Domimque Pecatte 

Good playing stick - - - ;^35.00 

205 Jean Moline a' Paris - - ;? 15.00 

206 Dom. Pecatte a' Paris - - ;^25.oo 
2J3 Vorain a' Paris - - - ^18.00 

215 John Dodd, London 

A perfect specimen, very elastic - ;^50.oo 

2i6 John Dodd, London 

Same as above _ - _ 1^50.00 

2t7 Francois Tourte 

Round. Great elasticity. Gold mounted, well 

balanced _ _ _ ;^ 125.00 

J 34 Dom. Pecatte 

Perfect in every respect - - 1^40.00 
200 



Collection of 1 896-'97' 201 

12 J Old German Make - - - ;^ 10.00 

JUF.Vofain - - - - ;g32.so 

JOS F. Lupot - - - ;^40-oo 

106 F. N. Vorain - - - ;?3S-oo 

J07 Lamy a' Paris - - - ;?20.oo 

Hi SavereToufte - - - $45-oo 

124 Dominiqae Pecatte - - - $3S-°° 

125 Poisoit a' Paris - - - ;^ 18.00 



New Violin Bows 

The bows listed here represent the result of much 
labor on our part to secure a line which we could 
conscientiously offer as being first-class in all res- 
pects. Each will be found exceptional value for the price 
asked, and those bearing our name are especially en- 
dorsed by us because of their durability and good playing 
qualities. Every stick is carefully tested by an expert 
before being allowed to leave the premises. 

940 Brazil wood, well mounted, German silver trimmed 
frog - - ;^i.oo 

940^ Three-quarter size, for children from lo to 14 
years .... ;^i.oo 

940 J^ One-half size, for children from 6 to i o years $ i .00 

941 Brazil wood, well mounted, better quality, German 

silver trimmed frog - - ^1.25 

94 J }i Same as above, one-half size, for children from 6 
to 10 years - - ^1-25 

941% Same as above, three-quarter size, for children 
from 10 to 14 years - - $i-'^S 

942 Iron wood, finely finished, very strong, German 

silver trimmed frog - 1^1.75 



Collection of 1896—97. 203 

942 J^ Same as above, one-half size, for children from 

6 to 10 years ... ^^1.50 

943 ?4 Same as above, three-quarter size, for children 

from 10 to 14 years - - ^^1.50 

943 Pernambuco wood, strong and elastic, German 
silver trimmed frog. Copy of Tourte $2.2^ 

943j^ Same as above, one-half size, for children from 6 
to 10 years ... ^^2.25 

943 Ji Same as above, three-quarter size, for children from 

10 to 14 years - ;^2.25 

944 Pernambuco wood, better quality, German silver 

trimmed. Copy of Tourte - - ;^3.00 

944J^ Same as above, one-half size, for children from 6 
to 10 years i^3-00 

944M Same as above, three-quarter size,for children from 
10 to 14 years - - ,^3-oo 

945 Lyon & Healy t! Chicag^o 

Vuillaume model, first quality Pernambuco, 
German silver trimmed - - ^4-00 

945/4 Same description as above, one-half size, for chil- 
dren from 6 to 10 years ^4.00 

945^ Same description as the above, three-quarter size, 
for children from 10 to 14 years - ;^4.00 



204 Violin Bows. 

946 Lyon & Healy a' Chicag:o 

Pernambuco wood of best quality, finely finished, 
German silver mounted - - $4-S'^ 

9i6}4 Same as the above, one-half size, for children 6 to 
10 years - i^4-50 

946Ji Same as the above, three-quarter size, for children 
10 to 14 years - ;^4.50 

947 Lyon & Healy a* Chicag;o 

Beautifully made, balanced perfectly. A fine 
playing bow . . - ;^S.OO 

947^ Same as above, one-half size, for children 6 to 10 
years - - _ - ;^5.oo 

947?^ Same as above, three-quarter size, for children 10 
to 14 years - i^5-00 

948 Lyon & Healy a' Chicag:o 

Similar to 947, but superior in playing quali- 
ties _ _ _ _ ;^7.S0 

94&}4 Description as above, one-half size, for children 
from 6 to 10 years - - ;^7.50 

948^ Same as above, for children from 10 to 14 
years - - li/.SO 

950 Lyon & Healy a' Chicago 

Copy of Lupot, fine finish, very elastic and 
strong, silver trimmed ;^ 10.00 



Collection of 1 896-'97- 205 

950j4 Same, half-size, for children 6 to 10 years ;^ 10.00 

950^ Same, three-quarters size, for children 10 to 14 
years ... ;^ 10.00 

949 Lyon & Healy a' Chicago 

Vuillaume model, pure silver trimmed, best 
possible workmanship, perfect balance ;^ 12.00 

951 Lyon & Healy a' Chicago 

Same quality stick as 949, but the frog is hand- 
somely engraved - - ;^ 13.50 

952 Lyon & Healy a' Chicago 

Sticks specially selected, silver mounted ;^ 15.00 

953 Lyon & Healy a' Chicago 

Our very best sticks selected for elasticity, 
strength, balance, etc., frog pure silver mounted, 
richly engraved, and the bow screw inlaid with 
pearl. A suitable bow for presentation pur- 
poses - - - ;^ 1 8.00 

954 Lyon & Healy a' Chicago 

Same quality of stick as 953, frog made of tor- 
toise-shell trimmed with silver ;^ 18.00 

956 Lyon & Healy a' Chicago 

Same quality of stick as the p/eceding ; tortoise- 
shell frog, mounted in pure gold - ;^35.oo 



Bows for the Violoncello 

970 Brazil wood, German silver mounted - $1.2^ 

97i Brazil wood; German silver mounted, better 

quality - - - - ;^ 1.50 

973 Pernambuco wood; German silver mounted ^^3.00 

974 Lyon & Healy a' Chfcag:o 

Pernambuco, carefully balanced, strong and 
elastic, German silver trimmed frog - ^5.00 

976 Lyon & Healy a' Chicagfo 

Pernambuco, specially selected stick, silver 
trimmed - - - $7-50 

977 Lyon & Healy a* Chicago 

Pernambuco, sticks carefully selected for playing 
qualities, strength and elasticity; artistic finish, 
pure silver trimmed frog - - ;^ 15.00 

978 Lyon & Healy a' Chicag:o 

Same description as 977, having in addition the 
frog elaborately engraved, and bow-screw inlaid 
with pearl - - ;^i8.oo 



206 



Bows for Viola 

960 Brazil wood, strong and durable - $i.2S 

96t Brazil wood, strong and durable, betterquality ;^i.50 

962 Ironwood, good finish, heavy weight - $i.J5 

963 Francois Tourtc 

Pernambuco wood, fine finish, very elastic and 
strong, German silver trimmed - i^3.00 

964 Toorte 

Same description as the above, but better qual- 
ity - - - - ^3-75 

965 Lyon & Healy a' Chicagfo 

Extra selected Pernambuco sticks, pure silver 
trimmed frog - - ;^io.oo 

Bows for Double Bass 

993 Brazil wood, artistic model - - II3.50 

992 Brazil wood, better finished, carefully selected sticks, 
well mounted - - - i^S-SO 

990 Brazil wood, excellent finish, selected sticks II4.00 

207 



The Wm. E. Hill & Sons' (London) 
Bows 

We are pleased to say that we are the appointed 
American agents for the bows made by Messrs. Wm. E. 
Hill & Sons, London, recognized as the foremost violin, 
viola and 'cello bow-makers of the day. 

The bows of Messrs. Hill & Sons make are repre- 
sentative of the most artistic phase of violin bow-making, 
and for merit in playing qualities and finish they are ex- 
celled only by the work of that famous maker, Fran9ois 
Tourte. 

The making of a violin bow, to the layman, seems a 
very simple matter, and the question in his mind is, " Where 
does the value lie, and where the difference in one costing 
$^ and one at $50 ? " Beyond a certain extent the differ- 
ence cannot be calculated by the eye, but place the two 
bows before an artist and he will detect their relative merit 
the moment he takes them in his hand. 

The qualities of elasticity, perfect balance and 
equalized strength, all become apparent the moment the 
bow is placed upon the strings. 

To first select the wood, which, for a really fine bow, 
is a tremendously difficult undertaking, and then to so fash- 

208 



Collection of 1896-97. 209 

ion it that it may be what is termed perfectly balanced^ is an 
operation requiring the greatest knowledge and skill. 

The house of Messrs. Hill & Sons, having the ad- 
vantage of an existence of over a century, has a supply of 
suitable bow-wood unequalled in the world, gathered from 
time to time as the chance occurred, the best of which is said 
to have been in their possession over seventy-five years, 
and from this stock is drawn the material used in these 
bows. Results can therefore be guaranteed, and every bow 
is warranted against losing its elasticity or its shape. 



Violin Bows 

930 Plain frog, old English style, silver mounted, octagon 

or round - - - - ft-ip.oo 

931 Handsome frog, better finished, octagon or round 

silver mountings - - 1^35 -oo 

932 Ivory frog, pearl slide, made after a famous old 

English bow by Dodd, octagon or round ^^40. 00 

933 Gold mounted frog, very finest finish. For this bow 

the best sticks are reserved - - ^55.00 

936 Viola bow. Same as violin bow No. 930 ;Si30.00 



2IO Violoncello Bows. 



Violoncello Bows. 

937 Plain frog. Same style as violin bow No. 

930 - - - - $30.00 

938 Handsomely finished frog. Same as violin bow No. 

931 - - - - ;^35.oo 

939 Ivory frog. Same description as violin bow No. 

932 - . _ - $40.00 

All Hill bows are fully guaranteed. 



New Violins of Good Makes 

801 Adolf Meyer, Sachsen, 1895 

Good model, light color varnish - ;J!io.oo 

801 J^ Adolf Meyer, Sachsen, J 895 

Half-size, light color varnish - |>io.OO 

SOiH Adolf Meyer, Sachsen, 1895 

Three-quarter size, light color varnish ;^io.OO 

804 Herman Breitman, fecit Dresden, 1895 

Very high finish, elegant tone $iS-00 

804>^ Herman Breitman, fecit Dresden, 1895 

Half-size, very high finish, elegant tone ;^ 15.00 

804^ Herman Breitman, fecit Dresden, 1895 

Three-quarter size, very high finish, elegant 
tone - ;^ 1 5.00 

805 Petrus Schultz, Cologat, 1895 

Beautiful model, strong full tone ^20.00 

805J4 Petras Schultz, Cologne, 1895 

Half-size, beautiful model, strong, full tone 

- ^20.00 
211 



212 New Violins. 

805^4 Petfus Schultz, Cologne, t895 

Three-quarter size, beautiful model, strong, full 
tone .... ;^ 20.00 

806 Alexander Hamm, Berlin, J 895 

Large model, red varnish, powerful tone ^^25. 00 
806>^ Alexander Hamm, Berlin, J895 

Half-size, red varnish, powerful tone ;^25.00 

806 M Alexander Hamm, Berlin, J 895 

Three-quarter size, red varnish, powerful 
tone - ;^25.oo 

807 Adolph Wunderle, Leipsic, 1896 

Beautifully made, choice wood, very fine, for 
artists - - . ;^30.oo 

808 Robert GIier> Cincinnati 

His best work, ev«ry-onecarefully tested 1835.00 

826 Louis Noebe, Bad-Homburgf 

Foremost modern German maker. Beautiful 
workmanship, rich varnish, grand tone. ;^6o.oo 

827 Nicolas Uhlen, New York, 1888 - ;gSo.oo 

828 Heinrich Heberlein, Markneukirchen, 1881 

Maggini model, bird's-eye maple back, brilliant, 
mellow tone - . . ;^75.oo 

829 W. H. Hammigf, Leipsic, 1891 - - 1^50.00 
841 August Riechers, Berlin, 1893 ;$6o.oo 



Whitelaw's Cremona Varnish 

We are the exclusive American agents for the sale of 
the violin varnish prepared by Mr. James Whitelaw, 
Glasgow^, Scotland. This varnish has attained a celebrity 
which is world-wide on account of the unequalled merit it 
possesses. It has the qualities of the famous varnish used 
by the Italian masters, and Mr, Whitelaw, who is an 
expert chemist, at the cost of endless experiment and 
research, has succeeded in producing results attained by 
no other since the secret of Cremona died with the great 
masters who alone possessed it. 

With this varnish violins can be coated in a style not 
possible by any other method extant, and with an ease 
which will be appreciated by those who have tried the 
usual methods. It is now in the power of the amateur to 
finish his violin in a style superior to any modern work ; 
in fact, his results will compare favorably, so far as varnish 
goes, with the varnish of the old masters. 

The varnish is an oil varnish, made with fossil gum 
amber as a basis. Sunlight, instead of blistering and bleach- 
ing it, only makes it more lustrous and transparent, and as 
the beautiful golden color is the natural color of the amber, 
it is therefore imperishable. The varnish works freely, 

213 



214 Rare Old Violins. 

and there is no need for hurry, as it does not " set " for ten 
or fifteen minutes, giving plenty of time to put it on prop- 
erly. It lies evenly and where it is intended to be, and does 
not " gutter," but leaves the outlines and seams sharp and 
clean. The wood does not need any kind of stain or 
preparation. The varnish laid on the clean, smooth wood 
will at once develop the natural markings. It is as trans- 
parent as crystal, and the most minute featherings are 
seen through it clearly and distinctly. It is " surface 
dry " in five or six hours after application, and dry 
enough for another coat in from twenty-four to thirty- 
six hours, according to the weather. It dries at the ordi- 
nary temperatures of an inhabited house in Summer or 
Winter. A Violin can be finished inside of five weeks. 

Price List. 

Single bottles, any color, with box of polishing powder, 
and bottle of pale amber yellow for sizing ;g2.oo 

Three bottles as above, - - . 5.00 

A single bottle is enough for two instruments. 

Full directions with every bottle, or sent on application. 



Restoration of Old Violins 

The repairing of valuable instruments, of our own 
collection, and those intrusted to us by others, is a very 
important feature of our business. These matters are 
under the direct supervision of out expert, a man of vast 
experience in the treatment of old violins, who deter- 
mines what shall be done, and who, of our corps of re- 
pairers, is most competent for the special work required. 
Estimates of cost cheerfully given, also our opinion as 
to amount and character of repairs necessary to produce 
the best results. 



Certificates and Expert Opinion of 
Old Violins 

Recognized as the highest authority in America 
upon the subject of Old Violins, we are in daily receipt 
of applications from persons asking our opinion and 
certificate on violins in their possession. Inasmuch as 
all this requires expert knowledge of a very special kind, 
and that much study and attention be given each instru- 
ment, unless for good and sufficient reasons we shall 
charge a fee of five dollars for each violin examined. 
Violins sent to us will receive prompt and careful consid- 
eration. 

215 



Violin Music 



Thirty years of practical experience in tlie music business 
has demonstrated to us the fact that the cultivated violin- 
player and teacher always prefers to use the original editions 
of violin music and violin literature, as he is measurably sure 
that such editions are prepared under the eye of the composer 
and so the possibility of error in fingering, marks of expres- 
sion, nuances, etc., is reduced to a minimum. 

In order to meet the wants of this growing minority, we 
have added largely to our stock and to-day can fill any order 
for this class of music. Also, we receive regularly from the 
principal European defdts consignments of the latest publica- 
tions in violin music, so that anyone wishing to keep au courani 
may do so by inspecting our stock. 

A glance over the following pages will show the diversity 
of our assortment ; the pieces listed here represent but a small 
portion of it. Many popular pieces will also be found in the 
catalogues of Edition Peters and others, furnished on applica- 
tion. 

We have in preparation a complete catalogue of violin 
music, and hope at an early day to announce its publication. 

We send selections of this music to responsible people; 
conditions will be made known on application. 



216 



Violin Music— Studies and Solos. 

A List of Rare and Interesting Pieces and 
Studies for the Violin. 

Alard, Delphin, Op. i6. Brilliant studies, -with 2d violin 

part ad lit. First series, price 30c. Second series $ .40 
Alard, Delphin, Op. 41. 24 Etudes Caprices dans les 24 

tons de la gamme; 2 books, each 2.00 

Op. S3- L'Art Moderne, 20 Etudes, 4 books, each 1.00 

Op. 19. 10 Etudes Artistiques 2,15 

24 Melodies Italiennes des operas de Bellini, Ros- 
sini, Verdi, etc., 3 books,, each .65 

d'Adelburg, A., Op. 2. School of Velocity, 24 studies for 

perfecting the agility of the fingers, 2 books, each 1.25 
Bach, Joh. Seb. 6 Sonatas fingered and revised by F. 

David; 3 books, each 1.50 

Bendix, Max. Scale Studies complete 1.00 

Casorti, Aug. Technics of the Bow, English and Spanish 

text 1.50 

Cambini, Giov. Gius. Preludes et Points d'orgue, re- 
vised by Edmund Singer 1.75 

Dancia, Charles. Le Progr^s, to Etudes Mdlodiques .75 

The School of the Five Positions. Op. 122, Book i, 

20 Easy Studies 1.7S 

Op. 90. Book 2, 10 Etudes -- 75 

Op. 128, Book 3, 16 Etudes M^lodiques (2d violin 

accomp.) 2.15 

Op. 110. The School of the Bow; Book 1, 10 Lit- 
tle Studies in First Position 75 

Book 2, 18 Studies -- 2.15 

217 



21 8 Violin Music — Studies and Solos. 

David, F., Op. 20. 6 Caprices Complete $1.75 

Op. 43. Suite (Menuett, Gavotte, Siciliano and 

Gigue) , i.oo 

Cadenzen zum Beetliovenschen Violin Concert, 

Op. 61 .50 

Concert Studies. Book I., devoted to Viotti. No. i, 
is the 23d Concerto in G major; No. 2 is the 2Sth 
Concerto in A minor; No. 3 is the 29th Concerto 
in E minor; N0.4 is the 22d Concerto in A minor. 
Book II. devoted to Rode. No. 5 is the 4th Con- 
certo in A major; No. 6 is the 6th Concerto in B 
major; No. 7 is the 7th Boncerto in A minor; 
No. 8 is the 8th Concerto in E minor. Book III., 
devoted to Kreutzer. No. 9 is the 13th Concerto 
in D major; No. 10 is the 14th Concerto in A 
major; No. 11 is the i8th Concerto in E minor; 
No. 12 is the 19th Concerto in D minor. Price 

of each number is .75 

Price of each book is 2.25 

Dont, Jacob. 24 Introductory Studies to Kreutzer's and 

Rede's Etudes 2.50 

Studies and Caprices, with newly revised fingering 3.00 
6 Caprices, Op. 55 I.oo 

Domerc, J., 35 Progressive Studies in double notes 1.50 

De B^riot, Ch., Op. 123. Ecole Transcendante (Appendix 

to the method) 7.40 

Ernst, H. W., Op. 26. Le Roi des aulnes (Erl King), 

Grand caprice on Schubert's melody .75 

Etude Album. A collection of studies selected from the 
writings of the greatest masters of the art, ar- 
ranged in progressive order by Chas. N. Allen.. 1.25 

Feigerl, Peregrine. 24 studies or caprices in the 24 
tones of the scale, with accompaniment for 2d 
violin, complete 3.00 

Florillo, F. 36 Etudes, revised by E. Singer „ .60 

The same, revised by H. Leonard 2.15 

The same, revised by Emil Kross 1.00 



Violin Music — Studies and Solos. 219 

Fuchs, Oscar, Op. 34. 25 Etudes $ .75 

Op. 37. 25 Etudes in higher positions 75 

GrUnwald, Adolph. Finger and bow exercises 1.75 

Hofmann, Rich., Op. 51. 24 Etudes, Book 1 i.oo 

The same, Books 2 and 3, each 1.25 

Op. 52. 32 special studies in all the major and 

minor keys, 4 books, each 1.25 

Op. 84. Elementary Violin School, with English, 
German and Spanish text _ ._ 1.50 

Orchestra studies, consisting of Overtures, Sym- 
phonies, Operas, etc.; 8 books, each 1.25 

Hrimaly,J. Scale Studies 1,80 

HUllweck, Ferd., Op. 18. 24 easy-study pieces in melodic 

and rhythmic style. Book i 2.25 

Same, Book 2 2.75 

25 Studies 3.7s 

Joachim, Joseph. Cadenza to Beethoven's violin concerto i.oo 

Kayser, H. E., Op. 20. 36 Etudes, 3 books, each 1.15 

The same for 2d violin, 3 books, each z .75 

Op. 28. 16 Etudes in all positions, with an accom- 
paniment for 2d violin ad lib 1.75 

Op. 30. 16 Etudes following the 36 Elementary 

studies, with an accomp. for 2d violin ad libitum. . 3.00 
Op. 31. 30 Etudes journali^res for developing 

greater proficiency in the art of violin playing; 

book I 2.00 

Op. 34. 30 Etudes journalieres for developing 

greater proficiency in the art of violin playing; 

book 2 1.75 

Op. 46. 30 Etudes journalidres for developing 

greater proficiency in the art of violin playing; 

book 3 1.7s 

Op- 49- 2P Ftudes journalidres for developing 

greater proficiency in the art of violin playing; 

book 4 - 2.00 



220 Violin Music — Studies and Solos. 

Kayser, H. E., Op. 6g. 30 Etudes journali^res for develop- 
ing greater proficiency in the art of violin play- 
ing; book 5 — $140 

Op. 70. 30 Etudes journalidres for developing 
greater proficiency in the art of violin playing; 
book 6 1.65 

Op. 71. 30 Etudes journali^res for developing 
greater proficiency in the art of violin playing; 
book 7 1.50 

Op. 32. Newest Method of Violin-playing, English, 
French and Spanish text 5.00 

The same in 3 parts, each 2.00 

Op. /|4. 5° short exercises for the quick develop- 
ment of talented pupils, book i, first position .75 

Book 2, first to fifth position .75 

Op. 50. 24 Caprices-Etudes, preparatory to the 
Caprices of P. Rode 2.00 

Op. 53. Paganini Studies, 24 caprices preparatory 
to the celebrated Paganini Caprices, 2 books, each 2.00 

Op. 62. School of Scales, English, French, German 
and Spanish text l.jo 

Op. 67. The study of the positions ; 34 short pieces 
in all the positions 1.40 

Op. 68. 75 short passage exercises and preludes 

for advanced players, book i .go 

Book 2, $1.15; book 3 1.00 

Kreutzer, Rudolph. 42 Etudes, revised by Emil Kross.. 1.50 

The same, revised by F. David 3.00 

The same, revised by Hermann Schroeder.. 1.50 

19 Etudes, revised by H. Schradieck 1.50 

40 Etudes, revised by R. Kaden .50 

Kross, Emil., Op. 18. Systematic Scale Studies, 3 books, 

each 1.65 

Op. 40. The Art of Bowing. A practical and 
theoretical guide to the technique of the bow 1.50 

Albdm of Studies, selected from the work of cele- 
brated masters with accomp. for 2d violin,2 books, 
each 1.50 



Violin Music — Studies and Solos. 221 

Leonard, H. La Gymnastique du Violiniste Complete $3.15 

Cadenza to Beethoven's Violin Concerto .40 

Libon, P., Op. 15. 30 Caprices 2.00 

Mazas, F., Op. 36. Melodious and Progressive Studies, 
arr. by E. Kross. 

Book I. Special Studies .90 

Book 2. . Brilliant Studies .90 

Book 3. Artistic Studies i.oo 

Meerts, L. J. La Mdcanisme de 1' Archet (The Mechan- 
ism of the bow), 2 books, each 1.25 

Le Mecanisme du Violon, Book A, 12 elementarv 

studies with accomp. for 2d violin ,75 

Book B. 12 Etudes with accomp. for 2d violin 1.50 

Book C. 10 Etudes with accomp. for 2d violin i.oo 

Meyer Ludwig. School of the Third Position i.oo 

Ortmans, Rend, Op. 6. Scale Manual, 2 books, each 1.90 

Op. 8. 25 Etudes in the 3, 5, 2 and 4th Positions-,, i.oo 

Paganini's Art of Violin Playing, by Carl Guhr 3.90 

Paganini, N., Merveille. Duet for solo violin — the bow 

with pizzicato accompaniment .25 

24 Caprices, perpetual motion and the duet for solo 

violin .90 

60. Variations on the song " Barucaba" .35 

Moto perpetuo .40 

24 Caprices (F, David), 2 books, each 1.50 

Rode, P., 12 Studies. Op. posth .75 

24 Caprices in the form of studies, revised by E. 

Singer .75 

The same. Revised by E. Kross i.io 

The same. Original edition 2.25 

Rovelli, P., 12 Caprices. Revised by E. Singer 1.40 

Ruhl, H., School of Velocity. Book i, 12 preparatory 

studies to concertos of the old Masters 1.50 

Book 2. 12 studies in the style of the concertos of 

Beethoven, Mendelssohn, Spohr 2.00 

Book 3. 12 studies in the style of the concertos of 

Bruch, David, Joachim, Ra£E 2.00 



222 Violin Music — Studies and Solos. 

Sabin, Edwin A., Technical studies for developing wrist 

motion $i>25 

Sauret, Emile, Op. 24. 20 Grandes Etudes, Book i 1.75 

The same, Book 2, $2.00; Book 3 2.25 

Op. 36. Gradus ad Parnassum. Technical studies 

for the virtuoso. Books i and 3 3.00 

The same. Book 2 2.50 

Schroeder, Hermann. 80 Melodic Violin Studies for the 
works of the masters. Introductory to Kreutzer's 

Etudes, 2 books, each 1.50 

Singer, Edmund. L' Arpeggio. Etude de concert .50 

Sitt, Hans, Op. 32. 20 studies in double stopping 2.00 

Op. 5t. 20 Studies for the training of the left hand 1.80 

Op. 30. 12 Grand studies 3.00 

Spohr, Louis. 3 Cadenzas to Beethoven's Violin Con- 
certos .25 

Op. 7. 3d Concerto in C, revised by Henri Petri-- .75 
Stanitz, Joh. Karl, ist Divertissement, duet for solo vio- 
lin, revised by D. Alard .75 

2d Divertissement, duet for solo violin, revised by 

D. Alard --- -- 75 

Wieniawski, Henri. L'Ecole Moderne. Etudes-Cap- 
rices 1.50 

Wohlfahrt, Franz, Op. 45. Studies for Violin, 2 books, 

Each- 1.50 



Violin and Piano Music. 

Alard, D., Op. 15. 1st Concerto - $4-25 

Op. 34. 2d Concerto 2.15 

Op. 47. Faust, Fantasia de Gounod 1.75 

Op. 52. Pastorale et Menuet de Boccherini, Tran- 
scription 1,15 

Bach, Joh. Seb. Air (on the G string), arr. by A. Wil- 

helmj .60 

Bourree, B minor, arr. by G.Papini .60 

Chaconne, arr. by A. Wilhelmj 1.50 

Concerto in G, arr. by F. Spiro 2.00 

4th Sonata in D minor 2.25 

Beethoven, L. van, Op. 33. No. i, Bagatelle .50 

Op. 40. Violin Romance in G .75 

Op. 46. Adelaide .90 

Op. 50. Violin Romance in F .75 

Adagio from the Septette .35 

Turkish March .50 

Op. 12. No. 3, Sonata in E flat ^ — i.oo 

Besekirsky, G. Allegro des ist Concerto de Paganini 2.15 

Boccherini, L. Minuet C^Ifebre, arr. by G. Papini .50 

Brahms, Joh., Op. 77. Concert 5.00 

Op. 78. Sonate in G 3.75 

Op. 100. Sonate in A 4.00 

Op. 108. Sonate in D minor 4.00 

Hungarian Dances, arr. by F. Hermann, In 4 books, 

each --- i..'>o 

The same, arr. by J. Joachim, in 4 books, each 2.50 

223 



224 Violin and Piano Music. 

Bruch, Max, Op. 47. Kol Nidre $1.50 

Op. 56. Adagio in the Celtic style 1.50 

Op. 63. Swedish Dances, 2 books, each 2.25 

Bull, Ole, Op. I. Adagio Religioso 75 

Op. 2. Nocturne .75 

A Mountain Vision .75 

Polacca Guerriera ' 2.00 

Carri, Ferd., Op. 13. Ave Maria (F. Schubert) .90 

Op. 14. Nocturne, Op. 9, No. 2 (Chopin) .90 

Chopin, F., Op. 9. No. 2, Nocturne, arr. E. Remenyi .75 

The same, arr. by P. Sarasate .75 

Op. 63. No. 2, Mazurka, arr. by E. Singer .40 

Op. 64. No. I, Valse, arr. by C. Stor .75 

Dont, Jacob, Op. 37. 24 introductory studies to Kreut- 

zer's and Rode's studies 3.50 

Dvofdk, Anton, Op. 49. Mazurek 1.50 

Op. 53. Concerto in A minor 5.00 

Op. 72. Slavische Tanze, 2 books, each 3.00 

Danbe, J., Op. 17. Berceuse... — .75 

Attaque du Moulin, 2 transcriptions, each i.ij 

Prayer from Rossini's "Moses" .75 

Dancla, L, Duo brilliant sur Moise de Rossini 1.65 

Op. 138. No. I Sonata in G, No. 2 Sonata in D, No. 

3 Sonata in A minor, each 1.25 

Op. 172. Serenade brilliant, Souvenir de Dieppe.. 1.40 

David, Ferd., Op. 3. ist Concertino 2.25 

Op. 15. Variations on Schubert's " Elegy ol Tears" 1.65 

Op. 20. Six Caprices 1.75 

Gondellied .^o 

De Beriot Ch. Airs Varices, No. i in D minor i.oo 

No. 2 in D, $1.40; No. 3 in E, $1.40; No. 4 in B flat, 
$1.40; No. 5 in E, $1.65; No. 6 in A, $1.40; No. 7 
in E, $1.40; No. 8 in D, $1.40; No. g in D, $2.40; 
No. 10 in D, $2.40; No. 11 in A, $1.65; No. 12 in 
G, $2.15; No. 13 in D flat, $2.15; No. 14 in G .90 



Violin and Piano Music. 225 

De Beriot Ch. Concertos, No. i in D, $2.15; No. 2inB 
minor, $3.65; No. 3 in E, $3.15; No. 4 in D minor, 
$i-7S ; No. s in D, $2.65 ; No. 6 in A, $2.15 ; No. 7 
in G, $2.65; No. 8 in D, $3.15; No. 9 in A minor, 
$2.i5;No.ioin A minor $2.15 

Op. 30. Le Tremolo. Caprice on a theme, by 

Beethoven 1,65 

Pp.63, ist Duo Concertant .' 2.40 

Ernst, H. W., Op. 16. Bolero i.oo 

Op. 17. Polonaise de Concert 2.00 

Op. 1 8. Le Carnaval de Venise .75 

Op. 22. Airs hongrois 1.50 

Op. 23. Concert Jf'is moll 2.50 

Gade, N. W. Spring Flower .50 

Gillet, E. Au Moulin 1.15 

Godard, Benj. Concerto Romantique 3.00 

Berceuse "Jocelyn" .75 

Goldmark, Carl, Op. 11. Suite .- 3.15 

Op. 43. 2d Suite - --- 4.50 

Handel G. Adagio et Allegro de la Sonate No. 10 75 

Largo, arr. by Sarasate 1.00 

Sonate u4 OTB/oj", arr. by David 1.25 

Hauser, M., Op. 17. La Melancolie , .50 

Haydn, J. Andante from Imperial Symphony .35 

Ox Minuet, arr. Hermann .50 

Hollaender, G., Op. ID. Romance - - 1.00 

Op. 14. Concert Polonaise 1.50 

Op. 49. Spanish Serenade 1.15 

Hubay, Jena, Op. 9. No. i Scenes de la Czardas .75 

Op. 47. Feu foUets 1.25 

Humperdink, E. Hansel und Gretel. Paraphrase arr. 

E. Kross — - -- 1.00 

Joachim,J. Violin Concert in G -- S-oo 

Kreutzer, R. Adagio from Concerto in D 75 



226 Violin and Piano Music. 

Leonard, H., Op. 2. Souvenir de Haydn $i.6o 

Op. ID. I St Concerto 1.80 

Op. 2g. Don Juan. Fantaisie 2.15 

Leoncavallo, R. Pagliacci. Intermezzo 1.00 

Mascagni, P. Cavalleria Rusticana, Intermezzo Sinfonica .75 
Mascheroni, A. Ave Maria, arr. with piano and organ 

accomp. by Peiniger .75 

Mazas, F. Polonaise Op. 45, No. i .65 

Mendelssohn, F. Spring Song, arr. E. Remenyi .75 

Op. 64. Third Concerto, arr. F. David 3.00 

Molique, Bernard, Op. 9. 2d Concerto 3.00 

Op. 19. Russian Melodies i.oo 

MoEzkov^ski, M. Mazurka »« G, arr. A. Delorme .50 

Op. 12. No. 2 Spanish Dance 1.25 

Op. 15. No. I Serenata .50 

Mozart, W. A., Op. 76. Concerto in E flat 2.30 

Op. 127. Concerto in B flat 2.20 

Larghetto from the Clarinet Quintette, arr. by E. 

Singer - .75 

The same, arr. by Vieuxtemps .50 

The same, arr. by Wilhelmj .75 

Rondo C^lfebre, arr. by A. Herman .75 

Sonatas Nos. i to 18, arr. F. David. Published 

separately; prices ranging from 70c to 1.60 

Musin Ovide, Op. 6. ist Caprice de Concert 1.50 

Op. 7. Valse de Concert .90 

Nachez, Tividar, Op. 14. Danses Tziganes 1.50 

Neruda, Franz, Op. II. Berceuse Slav .60 

Ondricek, Francois, Op. 3. Danses Bohemes 1.50 

Paderevirski, J. J., Op. 8. No. 3 Melodie, arr. E. Sauret.. .50 

Paganini, N., Op. 6. 1st Concerto in D, arr. by F. David 4.00 

Op. ID. Carnival of Venice 1.25 

Concerto in D, as played by Wilhelmj 1.50 

Variations di bravura del " Moses " di Rossini, for 
violin upon the G string with pianoforte or string 

quartette accomp 1.25 



Violin and Piano Music. 227 

Popper, David, Op. 39. Elfentanz, arr. by E. Sauret $1.00 

Papini, G. Danses Hongrois, 3 numbers, each 1.00 

Poznanski, I. B. Air de ballet .yj 

Raff, J., Op, 78. Second Grand Sonata 4.50 

Op. 85. Cavatina, arr. by E. Singer .75 

Improvisation on the " Liebesfee." by A. Wil- 

helmj . .7 J 

Rehfeld, F., Op. 58. No. 2, Rondo Capriccioso 1.25 

Reinecke, C, Op. 93. Overture to " King Manfred," arr. 

by F. Hermann 1,75 

Remenyi, E., Melodic Heroique .go 

Ries, F., Concerto in E minor 2.25 

Rode, P. Concerto No. I, arr. by F. Hermann 2.60 

Concerto No. 10, arr. by F. David 2.30 

Rubenstein, A. Russian Songs, arr. by F. Hermann .90 

Saint-Saens, C, Op. 20. Concerto 2.50 

Op. 40. Danse Macabre 1.60 

Sarasate, Pablo, Op. 15. Zampa, Mosaique 1.90 

Op. 20. Zigeunerweisen 1.25 

Op 21. Spanish Dances, Books i to 7 and 9. .Each 2.35 

The same, Book 8 3.00 

Faust, Fantaisie .. 1.50 

Sauret, Emile, Op. 8. Reverie 1.40 

Op. 27. Fantaisie Brilliante on Spanish Airs 2.50 

Op. 40. No. 4, II Mulino i.oo 

Scharwenka, X., Op. 3. Polish National Dances 2.40 

Op. 50. Phantasiestiick, arr. by F. Hermann .50 

Schatz, Carl, Op. 21. Souvenir of Popular Airs, 20 Nos., 

each I.oo 

Op. 22. Popular Airs, continued, 10 Nos., each i.oo 

Schuberth, C, Op. 6. Grand Nocturne Eligiaque .50 

Schubert, Franz, Op. 137. No. i Sonata in D.. _. .75 

"Barcarolle, arr. by E. Remenyi 1.15 

Serenade, arr. by D. Alard .50 

The same, arr. by E. Remenyi - .90 



228 Violin and Piano Music. 

Schumann, Robt. Abendlied, arr. by Wilhelmj $ .70 

Phantasie, arr. by A. Horn 1.20 

Schlummerlied, arr. by G. Papini .75 

Widmung, arr. by Vogel and Lenz .35 

Sgambali, G., Op. 24. Two pieces — Andante Cantabile, 

Serenata Napolitana 1.40 

Op. 28. Te Deum Laudamus .75 

Singelee, J. B. All of this author's original morceaux 
and arrangements in the original editions. 

Sitt, Hans, Op. 21. Concerto No. 2, in A minor 4.00 

Op. 39. Scherzo Capriccioso 2.00 

Spohr, L., Op. 7. 3d Concerto 2.25 

Romance from Zemire and Azor, arr. by A. Wil- 
helmj 7S 

Stojowslii, Sig., Op. 13. Sonata in G 2.00 

Stor, Carl, Op. 30. Concerto 3.75 

Strauss, Johann. All of this author's famous dance 
music. 

Suppe, Franz von. "Pique Dame. Overture 1.40 

Tarteni, G. Art of Bowing, 50 variations on a gavotte.. 3.10 

Trille du Diable, Sonata, arr. by H. Leonard 1.15 

Thomas, Emile. Fantaisie on Scotch airs, 2 numbers, 

each 1.25 

Thome, Francis. Simple Aveu .90 

Tschaikovsky, P. Romance, arr. by F. Hermann .75 

Op. 35. Concerto 5.00 

Op. 37. No. 6 Barcarolle in G minor, arr. by E. 

Sauret .65 

Verdi, G. Falstaff Fantaisie, arr. by A. Hermann t.25 

La Traviata, arr. by Ketterer and Hermann 1.65 

Vieuxtemps, H., Op. 6. Air Vari^ " II Pirata" (Bellini).. .50 

Op. 10. Grand Concerto 4.7S 

Op. 20. Duo Concertant " Don Juan " (Mozart) 2.25 

Op. 22. No. I Prenier Morceau de Salon 1.15 

Op. 25. Grand Concerto 4.50 



Violin and Piano Music. 229 

Vieuxtemps, H. Faust de Gounod Fantaisie $ i-SS 

LeTriUe du Diable, Sonata de Tartini 1.60 

Viotti, T. B. Concerto No. 18 2.60 

Concerto No. 22 2.71; 

Volkmann, Robt., Op. 7. Romance .75 

The Russians are Coming, arr. by F. Hermann .65 

Wagner, Richard, Meistersinger v. NUrnberg. Fantaisie, 

arr. by Ad. Hermann 1.15 

Siegfried. Paraphrase, arr. by Wilhelmj 1.40 

Parsifal, Prayer of Amfortas, arr. by A. Heintz... .90 

Rheingold. Fantaisie 1.15 

Wallture. Love song, arr. by J. Barrfes .90 

Walther's Preislied. Paraphrase, by A. Wilhelmj 1.40 

Waldteufel, Emile, Chant d' oiseaux. Waltz 1.25 

Weber Carl M. von, Freischiitz Fantaisie, arr. by,G. Papini 1.00 

Jubel Overture .75 

Rondo Brilliante, arr. by F. W. Kessel 1.15 

Weiss, Jul. All of this author's instructive pieces, fan- 

taisies, etc 

Weissenborn, E., Op. 96. Sehnsucht's Lieder 50 

Wichtl, G. All of this author's Compositions 

Wieniawski, H., Op. II. Carnaval Russe 1.25 

Op. 17. Legende 1.00 

Kuyawiak. Polish National Dance. .75 

Wilhelmj, Aug. German Suite k la J. S. Bach 2.50 

Italian Suite k la Paganini . 3.00 

Souvenir d' Amerique (Old folks at home) i.oo 

Wohlfahrt, Franz. All of this author's instructive pieces. 

Wormser, A., Op. 8. Suite Tsigane 2.00 

Ysaye, Eugene. Poeme Elegiaque 2.00 

Zarzycki, Alex, Op. 26. Mazurka 1.25 

Op. 34. No. 3, En Valsant 75 



Two Violins. 

Alard, Delphin, Op. 16. Ten Brilliant Studies ..$ 2.65 

Bach, Joh. Seb. Chaconne, D minor from the Violin. 

Sonata No. 4, arr. by F. Hermann 1.00 

Bruni, Op. 6. 6 Duets 1.00 

De Beriot, Charles, Op. 57. 3 Duos Concertants, each.. 1.50 

Gounod, Chas. Ave Maria Meditation .40 

Hermann, F. 2 Grand Duets, each 1.60 

Kayser, H. E,, Op. 20. 36 Etudes, 3 books, each 1.75 

Op. 51. 18 Pieces in the higher positions 1.90 

Op. 52. 4 Concert Duets, 2 books, each i.ij 

Meilhahn, P. E., Op. 7. Mechanism and Correctness, 2 

books Each 1.00 

Molique, Bernard, Op. 2. 3 Duos Concertants 2.70 

Prume, F., Op. 18. Duo Concertant .net .50 

Schoen, Moritz, Op. 72. No. 1, The Parting.. .40 

Op. 63. 3 Advanced exercises in sonata form 1.00 

Sauret, Emile, Op. 44. Adagio et Rondo 1.50 

Viotti, J. B., Op. 19. No. I, Duets in E flat, in B and in E 1.50 
Op. 9. Hommage k I'amitid. Duets in B, in G 

minor and inE 1.50 

Weiss, Jul., Op. 80. Violin Studies, 3 books, each 1.75 

C5p. 121. La Cavalcade. Morceau .75 

Wieniawski, H., Op. 18. Etudes Caprices, 2 books, each 1.50 

230 



Violin and Violoncello. 

Dancla, Ch., Op. io8. 6 brilliant operatic duets, each $ .75 

No. I, Barber of Seville; No. 2, Don Juan; No. 3, 
Der Freischiitz; No. 4, Norma and Somnambula; 
No. s, Elixir of Love; No. 6, La Dame Blanche; 
Op. 117, 3 duos, each .75 

Dotzauer, J. J. F. Duet on themes " Masaniello," by 

Auber 1.00 

Duet on themes from " William Tell," by Rossini, i.oo 

Fiorillo, F. Op. 96. Sonatas for violin and viola 2.50 

Forberg, Fr., Op. 13. No. 1, easy fantaisie on themes 

from " Faust," by Gounod.. 1.30 

Op. 13. No. 2, easy fantaisie on themes from "II 
Trovatore," by Verdi 1.50 

Ganz, Maurice, Op. 6. Duo concertant .75 

Op. 7. Duo Concertant " Preciosa," Weber 1.15 

Haydn, Joseph, Op. 93. 3 Sonatas for violin and viola .. 1.50 

Hofiman, H. A., Op. 5. 6 duos in 2 books, each 2.10 

Op. 6. 2 Duets 1.75 

Kreutzer, R., Op. 16. 3 Sonatas 1.90 

Op. 17. 3 Sonatas 2.25 

Lee, Seb., Op. 125. 3 Duets of Medium diiKculty, Nos. 

I and 2, each - - .75 

Same, No. 3 .90 

Leonard and Servais. Grand Concert Duet on English 

National Airs 1.65 

2d Grand Concert Duet on themes from Beethoven 1.65 

3d Concert Duet -- 1.65 

231 



232 Violin and Violoncello. 

Leonard and Servais. 4th Concert Duet on themes 

from Meyerbeer's " L'Africaine " $ 1.65 

Mendes, Franco, Op. 29. Fantaisie and Variations on 

themes from " Zampa," by Herold i.oo 

Pleyel, J., Op. 69. 3 Grand Duets for violin and viola 1.80 

Romberg, B. 3 Themes from Mozart 1.50 

Weber, C. M. Fantaisie on themes from " Der Frei- 

schiitz" — — - I. IS 



Violin and Organ — 'Cello and 
Organ 

Armingand, J. Andante from the Seventh Quartette, 

Mozart, violin and organ Netjo.go 

Andantino from the Symphony in D, Mozart, 

violin and organ Net .go 

Largo from Sixteenth Symphony, Haydn, violin 

and organ Net .90 

Epithalame, Mdlodie religieuse, violin and organ. 

- Net .75 

Braga, G. The Angels' Serenade, arr. by Westbrook, 

violin and organ Net .90 

Chaine, E. Eldgie, violin and organ Net .go 

Fuga, violin and organ Net .go 

Marcia, violin and organ 1 Net .90 

Pri^re, violin and organ Net .45 

Romanza, violin and organ Net .60 

Ferrand, Al. Contemplation, violin and organ Net .60 

Gade, Niels W., Op. 56. Romance from the Violin Con- 
certs, arr. C. L. Werner, violin and organ Net .75 

Gounod, Chas. Communion from St. Cecilia's Mass, for 

violin and organ Net .75 

Hymn to St. Cecilia, violin and organ Net .70 

Offertory from St. Cecilia's Mass, violin and organ. 

Net .50 

Prayer from St. Cecilia's Mass, violin and organ. 
- Net 75 

233 



234 Violin and Organ. 

Handel, G. F. Largo, arr. for violin and organ by A. 

Reinhard $0.50 

The same for 'cello and organ .50 

Herman, Ad. Adagio from Haydn, violin and organ. 

Net .90 

Adagio religiose from Mozart, violin and organ. 
Net .90 

Andante, Barcarolle, violin and organ Net .75 

Horwitz, B., Op. 4. Adagio for violin and organ .75 

Kirchner, Theo., Op. 91. 2 Concert pieces for violin and 

organ i.oo 

Op. 92. 2 Tone pieces for concert, violin and organ i.oo 

LeBeau, Alfred. Brises du Soir, Rfiverie-Nocturne, 

violin and organ Net .75 

Luinarz, Robt. Classical Album for violin and organ. 

Net 2.10 

Merkel, Gustav, Op. 51. Adagio, violin and organ .75 

MuUer, Joh. Val., Op. 18. Adagio religioso, violin and 

organ .75 

Nesvadba, Jos., Op. 17. Paraphrase on Loreley, violin 

and organ .50 

Peron, A. Adagio, violin and organ Net .75 

Meditation, violin and organ Net .90 

Offertory, violin and organ Net .90 

Rheinberger, Josef, Op. 150. 6 pieces for violin and 
organ. No. i, Theme and Variations, $1.20; No. 
2, Evening Song, 60c.; No. 3, Gigue, $1.20; No. 
4, Pastorale, 7sc.; No. 5, Elegy, 60c.; No. 6, Over- 
ture 1.50 

Rietz, Julius, Op. 48. Arioso for violin and organ .75 

Rode, P. Notturno in A major, arr. by A. Reinhard for 

violin and organ .50 

Saint-Quentin, G. de. Elevation for violin and organ. 

Net .75 



Violin and Organ. 2^5 

Scharwenka, P., Op. 53. No. 4, Evening Song, arr. by A. 

W. Gottschalg, violin and organ I0.9O 

Schumann, Robt. Evening Song, arr. by Wiliielmj, 

violin and organ r.oo 

Wagner, Richard. Parsifal, Prayer of Amfortas, arr. by 

A. Heintz, violin and organ .90 

Der Meistersinger, Walter's Song, arr. by George 

Goltermann, 'cello and organ .50 

The same, arr. by Westbrook and Wilhelmj, violin 
and organ 1.25 



Three and Four Violins. 

Adam, A. Potpourri "The Postilion," arr. by Rich. 

HofEmann, 3 violins $0.75 

Bach, Joh. Seb. Sarabande, arr. by W. Fitzenhagen, 4 

violins .75 

Bella, J. L., Op. 4. Sonata for 3 violins Net 1.25 

Bohne, R., Op. 60. 3 quartettes for 4 violins Each i.oo 

Bolck, O., Op. 2. Elfentanz, Capriccio for 3 violins .90 

Brunner, Eduard, Op. 98. No. i, Children's Ring, 3 

violins .80 

Op. 98. No. 2, Sweetest Dream, 3 violins .80 

Op. 98. No. 3, Mazurka in D, 3 violins .80 

Op. 98. No. 4, Heart Song, 3 violins .80 

Dancla, Chas., Op.99. 6 petits trios faciles et concertants, 

3 violins, 2 books Each 1.40 

Op. 119. Le Carnaval de Venise, Fantaisie bril- 
liant, 4 violins 1.7s 

Op. 161. Ah! vous dirai-je maman. Variations, 4 

violins 1.50 

Op. 178. No. I, Le Depart, 4 violins .90 

Op. 178. No. 2, L'Arriv^e, 4 violins .90 

Op. 178. No. 3, Le Retour, 4 violins 1.25 

Op. 203. No. I, Resolution, 4 violins .75 

Op. 203. No. 2, Doux Repos, 4 violins .75 

Op. 203. No. 3, Recueillement, 4 violins .75 

Dont, Jacob, Op. 45. Violin quartette in F 2.50 

Op. 52. Collection of music for ensemble playing, 

4 violins vrith viola and 'cello parts, 6 books. Each 1.50 

Dorn, J., Op. 2. Quartette, 4 violins i.oo 

236 



Three and Four Violins. 237 

Fitzenhagen, Wilhelm, Op. 59. Spinning Song, 4 violins$o.go 

Fritsche, Ernst, Op. 3. March rondo, 4 violins .75 

The same, 3 violins .65 

Hermann, Fr., Op. 17. Suite, 3 violins 2.75 

Op. 5. 2d Capriccio, 3 violins 1.50 

Hofmann, Rich., Op. 39. Little Fantaisies for 3 violins, 
in 8 books. Book i, Haydn, 90c; Book 2, Mozart, 
60c; Book 3, Schubert, 75c; Book 4, Weber, 7sc; 
Book 5, Beethoven, $1.00; Book 6, Mendelssohn, 
75c; Book 7, Kreutzer, 75c; Book 8, Lortzing .75 

Lachner, Ignaz, Op. 90. 3 Sonatinas, 3 violins, in 3 

Numbers Each 2.00 

Mozart, W. A. Larghetto, arr. for 4 violins by E. Schultz .90 

Reinsdorf, Otto, Op. 38. Romance in A minor, for 4 

violins .75 

Ritter, G. P., Op. 69. Easy trio, 3 violins .75 

Rubinstein, A., Op. 17. No. 2, Music of the Spheres, 
from the Quartette, arr. for 4 violins by F. Her- 
mann - .65 

Schumann, Robt. Alpine Fairy's Call, arr. for 4 violins 

by F. Hermann .65 

TrSumerei, arr. for 4 violins by E. Schultz .90 

Spies, Ernst, Op. 75. 3 easy concert pieces, Prelude, 

Cavatina, Scherzo, 3 violins 1.25 

Spohr, L. Andante from the Duet, Op. 39, No. 2, arr. for 

4 violins, by F. Hermann i.oo 

Streben, Ernst, Op. 33. No. 5, Little Fantaisie, 3 violins. 1.00 
Op. 33, No. I, Little Fantaisie, from the 7th Sym- 
phony Beethoven, 3 violins .65 

Op. 33. No. 3, Little Fantaisie on Schubert's 

"Withered Flowers," 3 violins .65 

Wohlfahrt, Franz, Op. 88. Melodic pieces for 3 violins, 

2 books - Each 1.25 



Trios. 

Bach, Joh. Seb. Terzette for 2 violins and viola, arr. by 

F. David $1.^0 

Beethoven, L. van, Op. 25. Serenade for violin, viola and 

'cello -- 1.30 

Braga, G. Angel's Serenade, arr. for violin, viola and 

piano, arr. by E. W. Ritter i.oo 

Bruni, B., Op. 36. 6 Trios for 2 violins and viola or 'cello, 

Each 1.25 

Ehrhardt, A., Op. 19. Trio for 2 violins and 'cello 2.00 

Fesca, Alexander. Adagio for violin, piano and organ.. 1.00 
Gounod, Chas. La Colombo, Entr'acte, violin, piano and 

organ Net 1.15 

Hymn to St. Cecilia, Meditation, violin, organ and 

piano Net 1.20 

Meditation "Faust" for violin or 'cello, organ and 

piano. Net 1.50 

Mireille, Chanson de Magali, piano, organ and 

violin or 'cello Net 1.50 

Nazareth, violin or 'cello, organ and piano i.cxj 

Philemon and Baucis, Morceau de Concert, piano, 

organ and violin or 'cello Net 1.50 

LaReine de Saba. Reverie Arabe, transcribed for 

piano, organ and violin or 'cello., Net 1.15 

Handel, G. F. 6 Trio-Sonatas arr. for 2 violins and 'cellos 
or piano, by E. Krause. No. I in B, No. 2 in D 

minor Each 2.15 

Hopfe, Jul, Op. 41. Trio for violin, viola and 'cello 1.50 

Jadassohn, S., Op. 16. ist Trio for piano, violin and 'cello 2.65 

238 



Trios. 239 

Jansa, L., Op. 41. No. 2, Trio for 2 violins and 'cello $ 1.40 

Ketterer & Durand. La Traviata, trio for piano, organ 

and violin 1.65 

Kummer, F. A, 40 pieces from popular operas, piano and 

2 'cellos, book 1, $1.25; book 2 _ 1,50 

Lumbye, H. C. Traumbilder Fantaisie, violin, piano and 

organ- - - -- ,75 

Mendelssohn, F. Collection of Trios for organ, violin 

or 'cello and piano, 2 books Each 2.30 

Merk, Jos. Lucia di Lammermoor, Morceau de Salon, 

2 'cellos and piano i.oo 

Meyerbeer, G. Fackeltanz, violin, piano and organ 1.00 

Mietzke, G. A. Meditation, violin, harp or piano and 

organ 1.25 

Mozart, W. A. 3 easy Trios, 2 violins and 'cello, Nos. i 

and 2, each 6oc; No. 3 .40 

Op. 2. 3 Trios, violin, viola and 'cello 3.00 

Op. 19. Grand Trio, violin, viola and 'cello 2.10 

Rehfeld, Fabian, Op. 60. Prayer, violin, piano and organ .go 

Reinhard, Aug. Scenes from Wagner's " Lohengrin," 
for organ, piano and violin or 'cello, No. i, $1.75; 
No. 2 2.2s 

Romberg, Bernard, Op. 72. Concertino for 2 'cellos and 

piano 2.00 

Rossini, G. LaGita in Gondola, transcription for violin, 

organ and piano. A. Sokol 1.00 

Saint-Saens C. Prelude to the Deluge, piano and violin 

{organ ad li6.) Net 1.15 

Romance, Op. 27. Violin, piano and organ Net 1,85 

Schoen, Moritz, Op. 57- The Birthday, 3 little fantaisies 

for 2 violins and viola .90 

Schuberth, C. Nocturne, 2 'cellos and piano .65 



240 Trios. 

Servais, F. Duet on a melody by Dalayrac, 2 'cellos and 

piano $2-15 

Stransky,J. Duo Concertant, 2 'cellos and piano 1.50 

Tours, B. Nazareth,{Ch. Gounod), 'cello, organ and piano 1.00 

Vieuxtemps, Henri. Adagio religioso from Op. 31, arr. 

for violin, organ and piano 1.30 

Volkmann, Robt, Op. 76. Slumber Song, violin, 'cello 

and piano i.oo 

Wagner, Richard. Marche Religieuse "Lohengrin," arr. 

violin, organ and piano 2.25 

Trio from " Rienzi," arr. violin, organ and piano 
by Clement Loret 2.25 



Quartettes. 



Alberti, H., Op. 55. No. 15, Trovatore, violin, flute, 'cello 

and piano | l.jo 

Op. 55. No. 44, Allesandro Stradella, violin, flute, 
'cello and piano 1.50 

Andre, A. Overture "Die Husitten," 2 violins, viola and 

'cello .75 

Auber, D. F. E. Overture " Mason and Locksmith," 2 

violins, viola and 'cello, arr. by J. G. Busch 1.25 

Potpourri " Masaniello," violin, flute, viola and 
'cello, arr. by G. Banger 2.10 

Overture " Masaniello, 2 violins, viola and 'cello, 
arr. by J. G. Busch .75 

Bach Toh Seb ( ^" from the D major Suite, Menuett 
Bocchirini, L.' ) and Trio, 2 violins viola and 'cello, 

' ( arr. by R. Jockisch Net .50 

Bach, E. Spring's Awakening, violin, 'cello and piano, 

4 hands .75 

Bach, Joh. Seb. 2 Sarabands, from Suites in G minor 
and A major, violin, 'cello, harp and organ, arr. 
by Albert Becker _ - 1.00 

Balthasar, A. Adagio Romantico, 2 violins, viola and 

'cello -.- .75 

Bazzini, A., Op. 80. 5th Quartette, 2 violins, viola and 

'cello 1.50 

Beethoven, L. van. Quartette from the Sonata Path^- 
tique, arr. for 2 violins, viola and 'cello, by J. 
Blumenthal - -- - 2.00 

241 



242 Quartettes. 

Quartette, Op. 18., No. i, in F for 2 violins, viola 
and 'cello Netf 1.50 

Quartette, Op. 18, No. 2, in G, 2 violins, viola and 
'cello Net 1.20 

Andante and variations from the A major Quar- 
tette, 2 violins, viola and 'cello, arr by R. Jock- 
isch Net .50 

Overture, "Egmont," 2 violins, viola and 'cello, 
arr. by J. G. Busch .75 

Overture, "Fidelio," arr. by J. G. Busch.. .75 

Grand Septette for piano solo with accom. for flute, 
violin and 'cello, by J. N. Hummel Net 2.70 

Bellini, V. Potpourri " Norma," flute, violin, viola and 

'cello, arr. by G. Banger 2.10 

The same for 2 violins, viola and 'cello 2.10 

Overture, " Norma," 2 violins, violo and 'cello, arr. 

by J. G. Busch .75 

Overture, "Romeo and Juliet," 2 violins, viola 

and 'cello, arr. by J. G. Busch .75 

Potpourri, " La Somnambula," 2 violins, viola and 

'cello, arr. by G. Banger ... 2.10 

The same, for flute, violin, viola and 'cello 2.10 

Bohne, R., Op. 61. Potpourri, "Marriage of Figaro," 

Mozart, arr. 2 violins, viola and 'cello .50 

Boieldieu, F. A. Overture, "Caliph of Bagdad," 2 

violins, viola and 'cello, arr. by J. G. Busch .75 

Potpourri, "La Dame Blanche," arr. for flute, 

violin, viola and 'cello, by G. Banger 2.10 

The same for 2 violins, viola and 'cello 2.10 

Overture, " La Dame Blanche," arr. for 2 violins, 

viola and 'cello, by J. G. Busch 1.00 

Overture, "La Dame Blanche," arr. violin, 'cello or 

flute and piano 4 hands, Th. Herbert 2.40 

Overture, "John of Paris," arr. 2 violins, viola and 

'cello, J. G. Busch i.oo 



Quartettes. 243 

Bolzoni, G. String Quartettes (2d series), 4 songs with- 
out words, 2 violins, viola and 'cello, complete 
score Net$2.oo 

The same, 4 numbers in parts.. Net 1.60 

Brahms, Johannes, Op. 25. First Quartette in G minor 

for piano, violin, viola and 'cello 6.75 

Op. 26. Second Quartette in A, for piano, violin, 

viola and 'cello 6.75 

Op. 51. 2 Quartettes, C minor and A minor for 2 

violins, viola and 'cello Each, net 3.75 

Op. 67. Third Quartette in B, for 2 violins, viola 

and 'cello Net 3.75 

Brunner, E., Op. 94. "Pleasure and Pain," 3 violins and 

piano 1.00 

Op- 95- "The Mischievous Goblin," A minor, 3 

violins and piano i.oo 

Op. 96. Joys of Youth, 3 violins and piano 1.25 

Op. 97. "Evening Boatride," 3 violins and piano.. 1.25 

Cauchie, F. Menuet, 2 violins, viola and 'cello .90 

Cherubini, L. Scherzo and Trio, from the E flat quar- 
tette, arr. for 2 violins, viola, and 'cello, by R. 
Jockisch Net .50 

Overture, "The Water Carrier," arr. for 2 violins, 
viola and 'cello, by J. G. Busch .75 

Dancia, Chas., Op. 99. 6 Little Trios, 3 violins and 

piano, 2 books Each 2.25 

DeSfeve, Alfred, Op. 6. Slumber song, 2 violins, viola 

and 'cello {bSLSS ad Hi.) .50 

Donizetti, G. "La Favorita" Potpourri, arr. for flute, 

violin, viola and 'cello, by G. Banger 2.10 

The same for 2 violins, viola and 'cello 2.10 

"La Fille du Regiment" Potpourri, arr. for flute, 

violin, viola and 'cello, by G. Banger 2.10 

The same for 2 violins, viola and 'cello .. 2.10 



244 Quartettes. 

Ourand, Augusts. Meditation, piano, violin, 'cello and 

organ - Net$ 1.85 

Dvorak, Anton, Op. 16. Quartette, 2 violins, viola and 

'cello 4.00 

Op. 34. Quartette in D minor, 2 violins, viola and 

'cello 4.00 

Op. 47. Bagatelles, 2 violins, 'cello and organ or 

piano -. 3.50 

Op. 51. Quartette in E flat, 2 violins, viola and cello 3.75 
Op. .61. Quartette (No. 3 in C) 2 violins, viola and 

'cello 5.00 

Op.80. Quartette (No. 4 in E flat) 4.00 

Op. 87. Quartette in E flat, piano, violin, viola and 

cello - - 7.50 

Op. 96. Quarttete in F, 2 violins, viola and 'cello-- 3.00 

Eschmann, Karl, Op. i. Little Symphony, 3 violins and 

piano ('cello ad lib) 1.25 

Flotow, F. Potpourri, "Martha," arr. for 2 violins, viola 

and 'cello, by G. Banger 2.10 

Potpourri, "Martha," arr. for flute, violin, viola and 
'cello by G. Banger 2.10 

Overture, " Rubezahl," arr. for 2 violins, viola and 
'cello, by J. G. Busch - .75 

Overture, " AUesandro Stradella," arr. for 2 vio- 
lins, viola and 'cello by J. G. Busch .75 

Foote, Arthur, Op. 23. Quartette in C, piano, violin, 

viola and 'cello 4.00 

Froehlich, Henry. Romance " In Thoughts," 2 violins, 

viola and 'cello .40 

Fuchs, R., Op. 15. Quartette in G minor 5.00 

Fuchs, Oscar, Op. 28. Andante for violin, 'cello, piano 

and organ 1.25 

Gernsheim, Friedo, Op. 51 Quartette No. 3 in F, 2 vio- 
lins, viola and 'cello Net 4.50 

Gillet, Ernst. Berceuse, 2 violins, viola and 'cello. ..Net 1.00 



Quartettes. 245 

Godard, Benjamin, Op. 33. Quatuor in G minor, 2 vio- 
lins, viola and 'cello Net$ 2.4O 

Gounod, Chas. Potpourri " Faust," arr. for 2 violins, 

viola and 'cello by G. Banger 2.10 

The same for flute, violin, viola and 'cello. 2.10 

"Faust" Meditation, for piano, organ, violin and 
•cello Net 1.50 

Grau, Max. "With Pleasure" Intermezzo, 2 violins, viola 

and 'cello .75 

Graziani- Walter C. "Dante e Beatrice" Meditation, 2 

violins, 'cello and piano 1.50 

Handel, G. F. Largo, arr. for 2 violins, viola and 'cello, 

bass ad lib., by E. Schultz Net .90 

Haydn, Joseph. Celebrated Serenade, for two violins, 

viola and 'cello Net .50 

Variations on the Austrian Hymn and the Andan- 
tino Grazioso, from the £ major Quartette, 2 vio- 
lins, viola and 'cello Net .50 

Largo from the D major quartette, 2 violins, viola 
and 'cello - Net .50 

Gipsy Rondo from the G major Trio, 2 violins and 
viola _Net .60 

Symphony in G (Surprise), arr. for piano, violin, 
viola and 'cello by L. Lee . 2.50 

The same, arr. for piano, 4 hands, violin and 'cello, 
by Carl Burchard --- 2.50 

Symphony No. 2, in G, arr. for piano, 4 hands, vio- 
lin and 'cello, by Carl Burchard 2.50 

Symphony No. 3, in E flat, arr. for piano, 4 hands, 
violin and 'cello, by Carl Burchard 2.50 

Herbert, Victor. Serenade for 2 violins, viola and 'cello, 

Net 4.20 

Canzonetta, from the Serenade, for 2 violins, viola 
and 'cello (and bass) Net .60 



246 Quartettes. 

Herold, F. Overture " Zampa," arr. for violin, 'cello and 

piano, 4 hands, by Th. Herbert $2.15 

Overture, " Zampa," arr. for two violins, viola and 
'cello byj. G. Busch .75 

HoUtein, Franz V. " The Highlander," Overture, arr. for 

flute, violin, viola and 'cello by G. Banger 2.10 

The same, arr. for 2 violins, viola and 'cello 2.10 

Huber, Hans, Op. 54. Waltzes, 2d Suite, piano, 4 hands, 

violin and 'cello 6.00 

Jadassohn, S., Op. 77. Quartette in C minor for piano, 

violin, viola and 'cello 5.OO 

Kahn, Robert, Op. 8. String-quartette in A, 2 violins, 

viola and 'cello, separate parts complete 3.00 

The same, score 2.00 

Kreutzer, R. Overture " Night in Granada," arr. for 2 

violins, viola and 'cello, by J. G. Busch .75 

Lachmund, C. V. Doll's Wedding Procession, 2 violins, 

viola and 'cello .50 

Lecocq, Chas. "Dr. Piccolo" (Le Pompon) Potpourri, 

arr. for 2 violins, viola and 'cello by G. Banger.. 2.10 

The same for flute, violin, viola and 'cello 2.10 

"Graziella" Potpourri, arr. for 2 violins, viola and 

'cello by G. Banger ... 2.10 

The same, for flute, violin, viola and 'cello 2.10 

Leonard, H. Serenade humoristique a I'espagnole, 3 

violins and piano 2.50 

Liebich, I. An evening at home, Morceau, 3 violins and 

piano 1.00 

Mendelssohn, F. Canzonetta from the E flat Quartette, 
Op. 12, arr. for 2 violins, viola and 'cello, by R. 

Jockisch Net .50 

Wedding March, arr. for violin, 'cello and piano, 4 

hands, by Th. Herbert 1.40 

Intermezzo from A minor Quartette, Op. 13, arr. 
for 2 violins, viola and 'cello, by R. Jockisch, net .JO 



Quartettes. 247 

"Midsummer Night's Dream," Potpourri, arr. for 2 

violins, viola and 'cello, by G. Banger | 2.10 

The same for flute, violin, viola and 'cello 2.10 

Meyerbeer, G. " The Huguenots " Potpourri, arr. for 2 

violins, viola and 'cello, by G. Banger 2.10 

The same, arr. for flute, violin, viola and 'cello 2.10 

Mohr, Herm., Op. 67. 3 Easy Quartettes for 2 violins, 

viola and 'cello 1.25 

^lozart, W. A. Andante from the Quartette in D, arr. 

for 2 violins, viola and 'cello, by R.Jockisch. Net .50 
Overture "Cosi fan tutte," arr. for 2 violins, viola 

and 'cello, by J. G. Busch .75 

"Don Juan" Potpourri, arr. for flute, violin, viola 

and 'cello, by G. Banger 2.10 

The same, arr. for 2 violins, viola and 'cello 2.10 

Overture "Don Juan," arr. for 2 violins, viola and 

'cello, by J. G Busch .75 

Overture, " Abduction from the Seraglio," arr.'for 

2 violins, viola and 'cello, by J. G. Busch .75 

Overture, " Marriage of Figaro," arr. for 2 violins, 

viola and 'cello, by J. G. Busch .75 

Overture, "Idomeneo," arr. for 2 violins, viola and 

'cello, by J. G. Busch _ .75 

Overture, " Magic Flute," arr. for 2 violins, viola 

and 'cello, by J. G. Busch .75 

Op. loi. Quartette for oboe (or flute), violin, viola 

and 'cello 1.30 

Quartette, No. 19 inC for 2 violins, viola and 'cello, 

- -Net I.3S 

Quartette No. 10 in C for 2 violins, viola and 'cello, 

- — Net .75 

Quartette, No. 14 for 2 violins, viola and 'cello 2.25 

Quartette, No. 9, in E flat for 2 violins, viola and 

'cello 35 

Overture, "Der Schauspiel Director," arr. for 2 

violins, viola and 'cello, by J. G. Busch .75 



248 Quartettes. 

Nawrath, Karl, Op. 18. Quartette in D minor, for 2 

violins, viola and 'cello Netf 3.75 

Nicolai, O. Overture, "Merry Wives of Windsor," arr. 
for violin, 'cello and piano, 4 hands by Th. Her- 
bert 2.00 

OSenbach, J. Overture, "Orpheus," arr. for 2 violins, 

viola and 'cello, by T G. Busch -. .75 

Potpourri, "Orpheus, arr. flute, violin, viola and 
'cello, by G. Banger 2.10 

Paer, Ferd. Overture, "Sargino," arr. for 2 violins, viola 

and 'cello, by J. G. Busch 75 

Raff, Joachim, Op. 192, No. 2. Quartette, No. 7, in D, for 

2 violins, viola and 'cello 5.00 

Reinecke, Carl. Entr'acte "King Manfred," arr. for 

violin, 'cello, organ and piano, by Jul. Sachs 1.15 

Quartette, Op. 132, for 2 violins, viola and 'cello 3.50 

Reissiger, C. G. Overture, "Die Felsenmlihle," arr. for 

violin, 'cello and piano, 4 hands, by Th. Herbert- 2.40 

Rheinberger, Josef, Op. 89. Quartette for 2 violins, viola 

and 'cello 3.75 

Rode, P., Op. 10. Celebrated Air Varid, for B flat clari- 
onet with accomp. for violin, viola and 'cello .75 

Rossini, G. Overture, "Barber of Seville," for 2 violins, 

viola and 'cello, by J. G. Busch .75 

Overture, "Cinderella," for 2 violins, viola and 

'cello, by J. G. Busch 1.25 

Overture, "La Gazza Ladra," arr. for 2 violins, viola 

and 'cello, by J. G. Busch .75 

Overture, "Italian in Algiers," arr. for 2 violins, 

viola and 'cello, by J. G. Busch 1.25 

Overture, "Othello," arr. for 2 violins, viola and 

'cello, by J. G. Busch 75 

Overture, "Semiramis," arr. for violin, 'cello and 

piano, 4 hands, by Th. Herbert 2.00 



Quartettes. 249 

Rubinstein, Anton, Op. 17. Quartette No, 3 in C minor, 

for 2 violins, viola and 'cello $4.00 

Molto lento, "Spharenmusik," from tiie Quartette 

op. 17, No. 2, for 2 violins, viola and 'cello .75 

Saint-SaSns, Camille, Op. 41. Quartette in B flat, for 

piano, violin, viola and 'cello . 6.75 

Quartette, "Henry VIII," transcribed for piano, 

organ, violin and 'cello {ad lib.) by A. Guilmant.. 2 25 
Serenade, for piano, organ, violin and viola, or 

'cello Net 1.50 

Schmidt-Bode, Jobs., Op. 21. Complete. Easy quartettes 

for 2 violins, 'cello and piano 2.25 

Schubert, Franz. Menuet and Trio, from the A minor 
quartette, 2 violins, alto and 'cello, arr. by R. 

Jockisch Net .50 

Quartette No. 5 in B, for 2 violins, viola and 'cello, 

— Net 1.30 

Quartette No. 6 in D, for 2 violins, viola and 'cello, 

— -- Net 1.60 

Quartette No. 8, in B, Op. 168, for two violins, 

viola and 'cello Net i.jo 

Quartette No. 7, in D, for 2 violins, viola and 'cello, 

Net 1.20 

Scherzo and Trio, from the G major Quartette, arr. 

for 2 violins, violaand 'cello by R. Jockisch. Net. .60 
Symphony in B minor, arr. for piano, 4 hands, vio- 
lin and 'cello, by F.Hermann 2.50 

Schumann, Robert. Abendlied, Traiimerei, Nordisches 
Lied, arr. for 2 violins, viola and 'cello, by R. 

Jockisch Net .50 

Sgambati, G., Op. 17. Quartette for 2 violins, viola and 

'cello Net 3.00 

Simon, Ant., Op. 38. No. i, Plainte Elegiaque, for 2 vio- 
lins, viola and 'cello (bass ad lib.) .75 

Stephens, Chas. Edward, ist Quartette in G, Op. 21, for 

2 violins, viola and 'cello 2.75 

2d Quartette, Op. 22, for 2 violins, viola and 'cello 2.85 



250 Quartettes. 

Stojowski, Sigismond, Op. 6. Variations and Fugue, for 

2 violins, viola and 'cello $ 1.25 

Svendsen, Johann S., Op. i. Quartette in A minor for 2 

violins, viola and 'cello 3.00 

Thiele, Richard. Quartette in comic st;>'le, Op. 27, No. 
I. Andante and Fugue on the theme " Guter 
Mond du gehst so Stille;" No. 2 Mdnuef'Ach 
do Lieber Augustin;" No. 3, "Ein, Zwei, Drei, 
an der Bank Vorbei," 2 violins, viola and 'cello, 
Complete 1.00 

No. I, theme and var. " Eduard and Kunigunde;" 
No. 2, Marcia femebre " Lott 'ist todt ;" No. 3," 
Minuet, "Wenn der Topfaber nun ein Loch hat; 
No. 4, Finale, " Wenn der Hund mit der Wurst;" 
2d Quartette in comic style, Op. 39, 2 violins, viola 
and 'cello Complete i .00 

Op- 4S- 3d Quartette in comic style, 2 violins, 
viola and 'cello Complete i.oo 

No. I, Andante and Fugue, " A. B. C. Die Katze 
liegt im Schlee;" No. 2, Minuets, " Und nu 
woll'n noch'n, mal;" A, " Grad' aus dem Wirths- 
haus;" No. 3, Allegro a, " Wer niemals einen 
Rausch gehabtj" 6, " Herr Schmidt! Was Kriegt 
die Jule mit; c, " Die Jule war So SchSn" 

Tombelle, F. de la. Op. 24. Quartette in E minor, piano, 

violin, viola and 'cello _-Net 4.00 

Tschaikowsky, P., Op. 11. Quartette for 2 violins, viola 

and 'cello Net 4.50 

Op. 22. 2d Quartette, for two violins, viola and 

'cello - 6.00 

Op. 30. 3d Quartette, for 2 violins, viola and 

'cello Net 4.00 

Andante Cantabile, from the Quartette, Op. 11, arr. 

for 2 violins, viola and 'cello, by R. Jockisch. Net .50 

Verdi, G. Overture, "Trovatore," arr. for flute, violin, 

viola and 'cello by G. Banger 2.10 



Quartettes. 251 

Vierling, George, Op. 76. 2d Quartette, for 2 violins, 
viola and 'cello. Score net, $1.00; separate parts, 
complete $2.50 

Volkmann, Robert, Op. 34. 3d Quartette in G tor 2 

violins, viola and 'cello $3-SO 

Op. 35. 4th Quartette in E minor, for 2 violins, 

viola and 'cello 3.50 

Op- 37- Sth Quartette in F minor, for 2 violins, 

viola and 'cello 2.50 

Op. 43. Quartette in E flat, 2 violins, viola and 

'cello 3.50 

Op. 63. Waltz from the "Serenade," No. 2, for 4 

'cellos _ 65 

Wagner, Richard, Potpourri " Lohengrin," arr. for flute, 

violin, viola and 'cello, by G. Banger 2.10 

Potpourri, " Tannhauser," arr. for flute, violin, 

viola and 'cello, by G. Banger 2.10 

The same for 2 violms, viola and 'cello 2.10 

Warner, H. E., Op. 29. Air de Ballet, 2 violins, viola and 

'cello 7S 

Weber, Carl Maria von. Op. 65. ' Invitation to the Dance," 
arr. for piano, 4 hands, violin and 'cello, by C. 

Burchard 2.00 

Overture " Der Freischutz," arr. for 2 violins, viola 

and alto, by J. G. Busch .75 

Jubel Overture, arr. for piano, 4 hands, violin and 
'cello, by F. Hermann 1.25 

Weiss, Julius, Op. 70. Overture to Adams' Opera ■' Si 

j'etais Roi," for piano, violin, viola and 'cello — 1.50 

Op. 1 19. Nos. I and 2, Souvenir du bal. Reminis- 
cences, 2 violins, viola and piano 1.50 

Op. 119. No. 3, Fanfare Militaire, for violin, viola, 
'cello and piano i-So 

Op 123. "Thoughts of Spring," > violin, viola, 

Rubenstein, A., Op. 3, Melody'in F J 'cello and piano 1.50 



Quintettes. 



Afirossimoff, Joas. v. Seldeneck. Serenade for 2 violins, 

viola, 'cello and bass. Separate parte $ 2.75 

The same, score Net 2.50 

Beethoven L. van, Op. 29. Quintette in C, for 2 violins, 

2 violas and 'cello 1.50 

Boccherini L., 5 selected pieces, arr. for 2 violins, viola 
and 2 'cellos, by Fritz Volbach, separate parts, 

Net 2.15 

The same, score Net i.oo 

Quintette (L'Uccelliera) arr. for 2 violins, viola and 

2 'cellos, by Fritz Volbach, separate parts 2.00 

The same, score 1.00 

Bohm, Carl, Op. 337. Valse, " Petite Bijouterie" for 2 

violins, viola, 'cello and bass 1.50 

Brahms, Joh., Op. 34. Quintette for piano, 2 violins, 

viola and 'cello 7.50 

Op. III. 2d Quintette in G for 2 violins, 2 violas 
and 'cello 5.00 

DeBeriot, Ch., Op. i. Air Vari^ in D minor for violin 

with accomp, for 2 violins, viola, 'cello and bass. 1.00 
Op. 2. Air Varid, in D, for violin, with accomp. 
for 2 violins, viola, 'cello and bass 1.00 

Dvorak, Anton, Op. 77. Quintette in G, for 2 violins, 

viola, 'cello and bass, separate parts, net 5.00 

Op. 97. Quintette in E Rat, for 2 violins, 2 violas 
and 'cello, separate parts, net .. 4.50 

Fanchetti, G., Op. 5. "J'y pense," Air de ballet, 2 violins, 

viola, 'cello and bass 1.00 

252 



Quintettes. 253 

Fritsche, Ernst, Album for 4-part violin playing with 

pia,no or organ accomp. Book i $3-75 

The same, Books 2 and 3 3.25 

Gillet, Ernest. "En Chevauchant," for 2 violins, viola, 

'cello and bass 1.25 

Madrigal, for 'cello solo with accomp., 2 violins, 

viola and bass .85 

"The Children's Patrol," for 2 violins, viola, 'cello 

and bass, net 1.25 

"The Top" (La Toupie), 2 violins, viola, 'cello and 

bass, net 1.25 

Goldmark, Carl, Op. 30. Clavier-Quintette, for 2 violins, 

viola, 'cello and piano 6.00 

Handel, G. F. Largo, 2 violins, 'cello, viola and bass, net .90 

Haydn, Joseph. Quintette, No. i, in C, for flute, 2 violins, 

viola and 'cello (piano ad lib.) 2.00 

Hellmesberger, Joseph, Jr., Op. 43. No. i. Tarantella, 

for 4 violins and piano 1.20 

Op. 43. No. 2, Romance, for 4 violins and piano.. 1.00 

Herbert, Victor, Op. 12. Serenade, 2 violins, viola, 'cello 

and bass, net 4.20 

Hess, Carl. Quintette, for piano, 2 violins, viola and 'cello 5.00 

Hollander, Gustav, Op. 39. No. 2, Berceuse, for 2 violins, 

viola, 'cello and bass, net i.oo 

Leonard, H., Op. 2. Souvenir d6 Haydn, for solo violin, 
with accomp. for 2 violins, viola, 'cello and bass 
(ad lib.) i.6o 

Liebich, J. 6 Little Melodies, for 2 violins, violas, 'cello 

and piano (ad lib.) 1.40 

Martucci, G., Op. 45. Quintette, in C, for piano, 2 violins, 

viola and 'cello - --. 7-S° 



254 Quintettes. 

Mozart, W. A. Adag'o, from the B major Quintette, No. 
2, for 2 violins, 2 violas and 'cello, by R.Jockisch, 

net $ .50 

Menuet and Trio, from the Divertimento in D, for 
cornets, 2 violins, viola and bass, arr by R. 
Jockisch, net .50 

Popp, Wilhelm. Little Concerts, for flute, with accomp, 

for 2 violins, viola, 'cello and bass i.oo 

Quintette, in F, for 2 violins, 2 violas, and 'cello, by 

Henry XXIV, Prince Reuss 4.00 

Rheinberger, J., Op. 114. Quintette in C, for piano, 2 

violins, viola and 'cello 6.00 

Saint-Saens, Camille, Op. 14. Quintette, for piano, 2 

violins, viola and 'cello 7.50 

Schmelz, Reinhard. Triiumerei, 2 violins, 'cello, viola 

and bass, net .90 

Schumann, R. Traumerei, for violin, with accomp. for 2 

violins, viola and 'cello, by H. Hermann, net .65 

Sgambati, G., Op. 4. Quintette, in F minor, for piano, 2 

violins, viola, and 'cello, net 6.00 

Op. 5. 2d Quintette, for piano, 2 violins, viola and 
'cello, net 8.50 

Sinding, Christian. Quintette in E minor, for piano, 2 

violins, viola and 'cello 6.00 

Volkmann, Robt., Op. 62. Serenade, No. i, in C, for 2 

violins, viola, 'cello and bass 1.50 

Wagner, Richard. Meistersinger, Vorspiel III Act, arr. 

for piano, 2 violins, viola and 'cello, by A. Ritter .90 

Zedtwitz, Kurt von, Op. 6. Serenade, for 2 violins, viola, 

'cello and bass, separate parts, $3.25; score, net._ 2.C0 



Miscellaneous Arrangements. 

Abt, Franz, Op. 213. No. 3, Sleep Well ! Sweet Angel, 2 
violins, viola, bass, flute and clarionet, with 'cello, 
2d clarionet,2 cornets, bassoon adlib, net $0.75 

Bach, Joh. Seb. Meditation on the 7th Short Prelude, by- 
Jules Bordier. Full orchestra, net 2.00 

Bach-Gounod. Meditation on the ist Prelude, "Ave 

Maria." Full orchestra 1.40 

Banger, George, Op. 43. King's Ballet, Kinder-Symphony 

for Piano, 2 violins and 'cello with toy instruments 1.70 

Bazzini, A., Op. 42. Concerto Militaire. Full orchestra. 4.00 

Beethoven, L.von Op. 21. ist Symphony. Full orchestra, 

net - - — 3.40 

Op. 81. Sextette for 2 violins, viola, 'cello and 
2 horns 1.05 

Bischofi, Kasp. Jak., Op. 20. Kinder Symphony for piano, 

2 violins and 'cello with toy instruments 3.10 

Bizet, Georges, Op. 22. Petite Suite d' Orchestre,for full 

orchestra, net 6.00 

Bruch, Max, Op. 24. "Fair Ellen," orchestra parts com- 
plete, net - S-oo 

Chopin, F., Op. II. Piano Concerto for 2 violins, viola, 

'cello and bass, net i.2S 

Chwatal, F. X., Op. 193. "The Merry Sleighride," for 2 

violins, 'cello, flute and piccolo .90 



256 Miscellaneous Arrangements. 

David, Ferd, Op. 16. Andante and Scherzo Capriccioso 

for violin with orchestra accomp $3.50 

Ersfeld, Chr., Op. 11. Schlummerlied for 2 violins with 

string orchestra accomp 1.25 

Felkl, Arthur, Op. 8. Nibelungen, waltzes for 2 violins, 

viola, 'cello, piano and drum parts 1.80 

Gillet, Ernest. "Passe-pied," violin or 'cello solo with ac- 
comp. for 2 violins, viola and bass, net 1.00 

Gluck. Air from "Orpheus," and " Easter Hymn," for 2 

flutes, 2 violins, viola, 'cello and bass, net .50 

Handel, G. F. Concerto for 4 violins,viola, 'cello and bass, 

net 1.C0 

Largo for 2 violins, viola, harp (or piano) and organ 1.00 
The same for violin and piano (or harp) and organ 
with 2d violin or viola ad lib .75 

Haydn, Joseph. Kinder Symphony, 3 violins and piano, 

4 hands, and 2 iiutes ad lib with kinder instruments 2.00 
The same for 2 violins and 'cello or piano, 2 flutes 
arf /r'5. with kinder instruments 2.00 

Hoffmann, Heinrich, Op. 65. Serenade for 2 violins, 

viola,flute, 'cello and bass, net 4.25 

Labitzky, A. "Dream of the Alpine Shepherdess," for 2 

violins, viola, 'cello, bass and piano, net 1.50 

MacDowell, E. A., Op. 35. Romance for 'cello with or- 
chestra accomp., net 1.15 

Lotto, Isidor. Fileuse, violin solo with accomp. for 2 

violins, viola, 'cello and bass or piano 1.75 

Mendelssohn, F. Concerto Op. 25, for 2 violins, viola, 

'cello and bass 1.75 

Op. 64. Violin-Concerto. Orchestra parts, net 3.60 

Mozart, W. A. Symphony, Op. 104. for violin and viola 

with orchestra accomp 3.90 



Miscellaneous Arrangements. 257 

Popp, G., Op. 333. Serenade de concert, for two violins, 

flute, bass, viola, 'cello and piano $ i.oo 

Popper, David, Op. 8. Concerto for 'cello and orchestra 5.25 

Saint-Sa€ns, C. Prelude to the Deluge, for violin solo, 
with accomp. for 2d violin, viola, 'cello and bass, 
net 1.20 

Schwenke, J. F. Serenade for 5 'cellos, bass and drums, 

net .-. .75 

Vieuxtemps, H., Op. 22. No. iii, Reverie, for violin and 

orchestra 2.25 

Volkmann, Robert Serenade in F, for 2 violins, viola, 

'cello and bass 2.00 



Edition Peters. 

Violin Schools and Solos. 

228a Bach, 6 Sonatas (Hellmesberger) $ 

2516 *Casorti, Technic of the Bow i 

1078 Dancla, Op. 68, 15 Etudes faciles _- 

1079 Op. 73, 20 Etudes brill, et caract 

1080 Op. 74, Ecole du M^canisme 

2062 Etuden-Album. 40 Studies by Dancla, Fiorillo, 

Kreutzer, Mazas, Rode, etc. (Hermann) 

283 Fiorillo, 36 Etudes (Hermann) 

1381 Gavinies, 24 Matinees (Hermann) 

1985 *Grunwald, First Studies - 

i897a/b *Hermann, Violin-School. 2 Vols., each 

1897c *2d Violin to the same 

203ia/b *Op. 20, 100 Studies for Beginners. 2 Vols., 

each 

2i27a/c *School of Scales. 3 Vols., each 

2692a/b Hohmann, Violin-School. Vol. I and II, each. 

284 Kreutzer, 40 Etudes (Hermann) 

i8i9a/c Mazas, Op. 36, 75 Studies. 3 Vols,, each 

2593 Op. 80, 8 easy Melodies (Hermann) 

2594 Op. 81, 8 Melodies (Hermann) 

2640 Petite M^thode (Hermann) 

21 18 Melodien-Album. 67 Favorite Melodies 

1984 Paganini, 24 Caprices (Becker) 

2199 Petri, s Etudes d'Artistes 

*£nglish and German Text. 
258 



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SO 
50 
75 
SO 
60 

75 



Violin Schools and Solos. 259 

2211 Rode, 12 Studies (Hermann) .60 

281 24 Caprices (David) .^o 

1983 Rode, Kreutzer, Bailiot, Violinschule...,i.^... .75 

1472 Rust, 2d Sonata, Bt> (Singer) .50 

2500 *Spohr, Violin-School (SchrSder) ......_ 1.50 

1867 Strauss, Joh., Jos. and Ed., 30 Dances i,. 1.50 

1936 Strauss (The elder) & Lanner, 18 Dances .50 

2564 Vieuxtemps, Op. 16, 6 Concert Studies i.oo 

2722a Violin-Album for Beginners .50 



Violin Duets. 

2506 Campagnoli, Op. 14, Duets .60 

2685 Classical Pieces (Hermann) .75 

2536 Bruni, Op. 24, 6 Easy Duets (Hermann) .50 

io8ia/i Dancla, 33 Easy and Progressive Duets, 11 

Books, each .60 

2469 Fiorillo-Spohr, 36 Etudes i.oo 

1986 Gebauer, 12 Very Easy Duets (Griinwald) .60 

1082 Hauptmann, Op. 2, 2 Duos concertants i.oo 

1897c Hermann, 2d Violin to his Violin-School .75 

io83a/c Jansa, Op. 46, 74, 81, 18 Duets. 3 Vols., each-, i.oo 

25i8a/b Kalliwoda, Op. 70. n6. Easy Duets, each .60 

io84a/d Op. 17S to 181, Very Easy Duets, 4 Books, 

each .60 

284a Kreutzer, Studies 2d Violin .50 

i955a/b Mazas, Op. 38, 12 Duets. 2 Books, each .60 

^957 Op. 60, 6 Easy Duets (Hermann) .50 

2166 Op. 85, Duos Abdcddaires (Hermann) .50 

2528 Op. 46, 6 Easy Duets (Hermann) .60 

1958 Op. 61, 6 Easy Duets (Hermann) .50 

25983/0 Op. 86, 9 Element. Duets. 3 Books, each .50 

I956a/b Op. 39, 6 Duets. 2 Books, each .50 

252ia/b Op. 70, 12 Easy Duets. 2 Books, each .60 

'English and German Text. 



26o Violin Duets. 

2522a/b Op. 71, 6 Duos Concert. 2 Books, each .50 

2520 Op. 62, 3 Duos Progressifs .50 

25i9a/b Op. 40, 6 Duos Brillants. 2 Books, each .50 

Melodien- Album. (Hermann): 

1987 50 Popular Melodies : .50 

1988 24 Operatic Melodies .50 

1989 30 March and Dance Melodies .50 

i776a/b Mendelssohn, Songs Without Words. 2 Books 

each .60 

2117 Overtures (8): Mozart, Weber, etc 1.00 

io8sa/f Pleyel, Op. 8, 48, 59, 23, 24, 61, 33, Duets (David 

and Hermann.) 6 Books, each .50 

loSsg 3 Easy Duets (Hermann) .50 

2205 Schubert, 12 Select Songs (Hermann) 1.00 

2365 Schumann, 20 Pieces from "the Album for the 

Young," Op. 68 (Hermann) .75 

io86a/g Spohr, 14 Grand Duets, 7 Books, each .75 

2723a Violin Album for Beginners .75 

io87a/n Viotti, Duets, complete. 13 Books, each .60 



Violin and Piano. 

2731 Artot, Souvenir de Bellini $ .75 

232/S Bach, 12 Sonatas (David). 4 Vols., each 1.25 

228a/b 6 Sonatas for Violin solo vf ith accomp. of Piano 

(Schumann) 2.25 

236 Suite, Sonata and Fugue (David) 1.50 

2474 Chaconne (Mendelssohn, Schumann) .75 

229/30 2 Concerts (Hermann) each 75 

2078 Becker Alb., Op. 20, Adagio, Cim .75 

13a Beethoven, 10 Sonatas (David) 2.00 

13b Rondo and Variations (David) .50 

189a Concert (Wilhelmj) .50 

189b Romances (Wilhelmj) .50 

748a 5 Sontas for Cello arr. (Hermann) 1.50 

149 Sonata for Horn Op. 17, arr. (Hermann) .50 

1411 4 String Trios (Hermann) 1.50 



Violin and Piano. 261 

2174 Serenade Op. 8 (Hei;mann) 75 

I336a/b 6 Quart. Op. 18 (Herm.) 2 Vols., each.. 1.50 

1337 Septet Op. 20 .50 

2229a/h 8 Symphonies (Sitt) each i.oo 

22291 Symphony No. 9, Dm 1.50 

1413c Celebrated Pieces i.oo 

2637a/b Bdriot, Airs varies, 2 Books, each .75 

1494 Bruch, Op. 26, 1st Violin-Concert, Gm 1.50 

1915/7 Chopin, Waltzes, Mazurkas, Nocturn, each .75 

I4i3a/b Classical Pieces, 4 Vols., each . i.oo 

2517 Dancla, Op. 58, 59, 66, 3 Pieces i.oo 

2819 Op. 77, 3 Duets I.oo 

io8Sa/f Op. 83, 6 Easy Fantasias, each... .50 

2507 Dussek, Op. 20, 5 Sonatinas (Hermann) .75 

1818 Ernst, Elegie; Prume, Mdlancolie .50 

2128 Field, ID Nocturnes (Hermann) .75 

1611 Flotow, Martha, Fantasia (Felix). 50 

1996 Goltermann, Op. 13, 2 Pifeces de Salon .75 

1340 Grieg, Op. 8, Sonata I, F i.oo 

2484 Op. 12, 8 Lyric Pieces, Book I .75 

2279 Op. 13, Sonata II. G 1.50 

2547 Op. 35, Norwegian Dances (Sitt) i.oo 

2210 Op. 36, Cello-Sonata, arr. (Petri)-.. 1.50 

2664 Op. 38 Lyric Pieces. Book II ,75 

2665 Op. 43 and 47 Lyric Pieces. Book III .75 

2414 Op. 45, Sonata III, Cm 1.50 

2493 Op. 46, Peer Gynt-Suite I (Sitt) 1,00 

2546 Bridal Procession, easy (Hermann) .50 

2176a Bridal Procession & Carnival (Sauret) .75 

2i76b/c 8 Songs (Sauret). 2 Books, each .75 

2475a/b Handel, 6 Sonatas (Sitt). 2 Books, each .75 

287/88 Hauptmann, Op. 5 and 23, Sonatas, each 1.50 

2565 Hauser, Op. 34, Birdie in the Tree i.oo 

2566 Op. 37, 4 Songs without Words .75 

2567a Op. 43, Hungarian Rhapsody i.oo 

2567c Op. 45, Irish Rhapsody. i.oo 

2567d Op. 47, Scotch Rhapsody 1.00 

I493a/b Songs Without Words, 2 Vols., each-.. i.oo 

190 Haydn, 8 Sonatas (David).. 1.25 



262 Violin and Piano. 

I33ia/b 6 Symphonies (Hermann.) 2 Vols., each i.oo 

1332 6 Quartets (Hermann) 1.50 

2247 Hermann, IJ easy Pieces .75 

io89a/m Jansa, Op. 75, 12 easy Fantasias, each .50 

2i29a/b Jensen, Op. 17, Wanderbilder. 2 Books, each., i.oo 

ic^ Kalliwoda, Op. 103, 4 Valses brillantes .75 

logia/d Kreutzer, Concerts 13, 14, 18, 19, each .75 

1382c Lanner-Album. 6 Favorite Waltzes .75 

1092 Laub, Op. 7, Romance et Impromptu i.oo 

1093a Op. 8, Polonaise .75 

1093b The same arr. by Wilhelmj .75 

2730 Leclair, Sarabande and Tambourin .50 

2642 Lipinski, Concert Militaire .75 

Masters for the Young. 

2725 Haydn, Mozart (Hermann) .75 

2726 Beethoven, Schubert (Hermann) .75 

2727 Mendelssohn, Schumann (Hermann) .75 

Melodien-Album. (Hermann): 

729a 60 Popular Melodies .60 

729b 47 Operatic Melodies .60 

729c 34 March and Dance Melodies .60 

1731/2 Mendelssohn, Concert and Sonata, each .50 

1735b Cello Compositions, arr. (Hermann) i.oo 

I792a/b 2 Symphonies, Am., A. (Sitt), each i.oo 

'793 14 Select Songs (Sitt) .75 

'734 36 Songs Without Words, arr. (Hermann) 1.00 

1786 Wedding March and Athalia March .50 

2167 Moszkowski, Op. 12, Spanish Dance 1.50 

^529 Op. 45 No. 2. Guitarre (Sarasate) .75 

14 Mozart, 18 Sonatas (Hermann) 2.25 

2595 15 Movements from Sonatinas .75 

2i93a/b 2 Concerts, A, Eb (Hermann) each .75 

'333 4 Symphonies (Hermann) 1.50 

'334/5 3 Quartets, 3 Quintets (Hermann) each 1.50 

2476 Nardini, 2 Sonatas Bb, D (Sitt)_._ .75 

2786 Nov^cek, Perpetuum mobile .75 



Violin and Piano. 263 

2028a/b Operatic Album (Spindler). 2 Vols., each .75 

1990 Paganini, 4 Favorite Pieces (Becker) .75 

1991 Concert No. I (Becker) _. .75 

25683/0 RafE, 5 Sonatas, Em., A, D, Gm., Cm., each 1.50 

1094 Rode, Op. lo. Air vari^, G (Hermann) .50 

i095a/e Cone. Nos. 4, 6, 7, 8, 11 (Hermann) each .75 

1338 Rubinstein, Op. 13, Sonata, G 1.00 

1339 Op. 46, Concert G 2.00 

2030 Riifer, Op. 33, Concert D min 3.00 

1341 Rust, Sonata No. I, Dm. (David) .75 

iiioa/b New Salon Album, 2 Vols. (Grieg, Hauser, 

Vieuxtemps, etc.) each 1.00 

2529 Sarasate-Moszkowski, Guitarre .75 

2i68a/b Sauret, Cavatina, Moorish Serenade, each .75 

2204 Op. 33, Polish Dance, A .75 

156a Schubert, 3 Sonatinas (David) .60 

156b Duos Op. 70, 159, 160, 162 (David) 1.25 

1412 12 Marches, arr. (Hermann), i.oo 

2274 Symphony, C (Sitt) 1.50 

227s Symphony, Bm. (Sitt) .75 

2267 12 Select Songs (Sitt) .75 

2367 Schumann, 2 Sonatas (Hermann) .75 

2366 Fantasiestucke Op. 73 (Hermann) .50 

2372 Marchenbilder Op. 113 (Hermann) .50 

2368 Fantasia Op. 131 (Hermann) .75 

2369a/d 4 Symphonies (Sitt) each i.oo 

2370a 12 Favorite Pieces, arr. (Sitt) .50 

2370b 12 Pieces from the Album for the Young .50 

2371 15 Favorite Songs (Sitt) .50 

2826 Sinding, Op. 27 Sonata E major 1.50 

2477 Suite, Am .75 

2747a/b Sitt, Op. 62, 2 Sonatinas, each .75 

2634a/b Smetana, Aus der Heimat, 2 Pieces, each .75 

2643 Sonatinen Album (Hermann) i.oo 

2028a/b Spindler, Operatic Album. 2 Vols., each .75 

1096 Spohr, Polonaise Op. 40 .75 

2496/98 Salonstiicke Op. 127, 135, 145, 3 Vols., each — 1.05 

2499 Barcarole Op. 135 No. i, G .50 

i098a/f Cone. No. 2, 6, 7, 8, 9, 11 (David) each .75 



264 



Violin and Piano. 



1376c Strauss Album I. (for Cont. see 2 Hds.) 1.50 

I387/90C Strauss Album II. to V. (for Cont. see_ 2 Hds.) 

each 1.50 

1878/80C Strauss Album VI. to VII. (for Cont. see 2 Hds.) 

each i.oo 

193s Strauss (The elder) 12 Favorite Dances .75 

2043 Suppe, 6 Marches 1.00 

I099a/b Tartini, Sonatas. 2 Vols., each .75 

1633 Verdi, Trovatore, Fantasia (Felix) .50 

2569/70 Vieuxtemps, Op. 7, 8, Romances, each i.oo 

2571 Op. 9, Hommage k Paganini i.oo 

2572 Op. 17, Yankee Doodle i.oo 

2573 Op. 18, Fantasie sur Norma i.oo 

2574 Op. 19, Second Concerto 1.50 

257s Op. 27, Fantaisie slave 1.00 

2576 Op. 29 Andante et Rondo i.oo 

2577^/'' Op. 33, Bouquet am^ricain, 2 Bks., each i.oo 

2578 Op. 33, No. s, Last Rose -- .75 

2580 Op. 35, Fantasia appassionata 1.50 

2581 Op. 38, Ballade et Polonaise - 1.50 

2582a Op. 43, Suite I.oo 

2582b Op. 43, No. 4, Gavotte .75 

2724a Violin-Album for Beginners .75 

iiooa/d Viotti, Cone. Nos. 22, 23, 28, 29, each .75 

2823a/b Cone. Nos. 20, 24, each .75 

191 Weber, 6 Sonatas (David) .60 

2015 Perpetuum mobile (David) .75 



Overtures. 

393 Beethoven, 5 Overtures .75 

494 Bellini, Rossini, 5 Overtures .75 

1939 Donizetti, Kreutzer, Nicolai, 3 Overtures .75 

1736 Mendelssohn, 5 Overtures i.oo 

392 Mozart, 7 Overtures .75 

1449 Supp^, 6 Overtures (Dichter and Bauer etc.) 1.50 

594 Weber, s Overtures .75 



'Cello and Piano. 265 

Violin and 'Cello. 

2523 Beethoven, 3 Duos (Hermann) .75 



'Cello and Piano. 

239 Bach, J. S., 3 Sonatas (Griitzmacher) 1,50 

2063 Bach, Ph. E., Sonata, Gm. (do.) .75 

748 Beethoven, 5 Sonatas (Gratzmacher) 1.50 

748b Variations (Griitzmacher) .60 

159 Sonata for Horn, Op. 17 (Griitzmacher) .50 

1928a Chopin, Sonata Op. 65, Polonaise Op. 3 1.00 

1928b Duo sur Robert le Diable i.oo 

1918 Waltzes, Mazurkas, Nocturnes, etc 1.50 

I4i8a/d Classical Pieces, 4 vols., each 1.00 

2284 Davidoft, Op. 41, Silhouettes, 4 Pieces i.oo 

2461 51 Pieces from the 'Cello-School I.oo 

1996 Goltermann, Op. 13, 2 Pifeces de Salon... . .75 

1997 Op. IS, Grand Duo 1.00 

2207 Op. 25, 2d Grand Duo i.oo 

2064 Op. 96, 4 Pifeces de Salon 1.00 

2702 Op. 117, 3 Lyric Pieces 1.00 

2157 Grieg, Op. 36, Gr. Sonata, Am ■ 1.50 

2830 Op. 46, Peer Gynt-Suite I (Goltermann) i.oo 

283ia/b 12 Lyric Pieces (do.) 2 Books, each 75 

1995 Hummel, Sonata, Op. 194 (Griitzmacher) 75 



Masters for the Young. 

2810 Haydn, Mozart (Goltermann) „ .75 

2811 Beethoven, Schubert (do.) -- .75 

2812 Mendelssohn, Schumann (do.) .75 



Technical and Other Violin Works. 

Anthony Stradivari F. G. Fetis $2.50 

The Violin and its Music G. Hart 5.00 

Violin-Making as It Was and Is B. Heron-Allen 3.00 

Fiddle Fanciers' Guide J. M. Fleming 3.00 

NicoLo Paganini and the History of the Violin 

F. G. Fetis 1.25 

Technics of Violin Playing K. Courvoisier .75 

The Violin G. Dubourg 2.25 

Treatise on the Structure and Preservation 

of the Violin J. A. Otto 1.75 

How to Study the Violin J. T. Carrodus 1.00 

The Violin — How to Make it J. Broadhouse 1.50 

How TO Play the Fiddle H. W. Gresswell ,'js 

Fiddlers, Ancient and Modern A. Mason Clarke 2.00 

The Violin — Its Famous Makers and Their 

Imitators G. Hart 6.00 

The Violoncello and its History 

W. y.D. Wasieletvski 3.00 
266 



Technical and Other Violin Works. 267 

The Early History of the Violin Family 

C. Engel $3.00 

FiJHRER DURCH DIE ViOLONCELL-LlTTERATUR 

P. Roth .40 

FUHRER DURCH DEN VIOLIN-UNTERRICHT 

A. Tottman 1.50 

Katechismus des Violinspiels C. Schroeder .90 

The Violinist's Manual E. Griienberg .75 

The Violin Primer B. Tours .75 

The "Tuscan," a Short Account of a Stradivari 

Violin W. E. Hill & Sons 2.50 

"The Salabue Stradivari," a History of the 
Famous Violin Known as "Le Messie" 

W. E. Hill & Sons 3.00 

Gio. Paolo Maggini, His Life and Work 

W. E. Hill & Sons 4.00 

Die Kunst des Violinspiels H. Schroeder .80 

Gasparo da Salo and His Predecessors 

(In preparation) W. E. Hill & Sons 

Great Violinists and Pianists Geo. T. Ferris .60 



Index 



Adam,Jean D no 

Albani, Mathias 87 

Albani, Michael 87 

Albani, Paola - 88 

Aldric 67 

Alletsee, Paul 106 

Amati, Andrea 21 

Amati, Antonio and Hier- 

onymus 21 

Amati, Hier. II. 24 

Amati, Nicolo 22 

Andrea, Petro S3 

Anglo-Celtic School 99 

Anselmo, Pietro 35 

Augiere 67 

Bachmann, Carl Ludwig-- 88 

Balestrieri, TommasBp 35 

Banks, Benjamin 100 

Barnia, Fidele S3 

Baroux no 

Bausch III 

Belosio, Anselmo 53 

Benedict, Jose 105 

Bergonzi, Carlo 35 

Bergonzi, Michael Angelo 37 

Bergonzi, Nicolas 37 

Bernardel, Sebastien P 67 

Bertolotti, Gasparo di 14 

Bertrand, Nicholas 67 

Betts, John loi 



Bindernagel, Otto 88 

Boquay, Jacques 67 

Boullangier, C 67 

Bourdet, Sebastien 67 

Braglia, A. in 

Brescian School 14 

Buchstadter, Wilh 88 

Camilli, Camillus S9 

Cappa, Joffridus 59 

Carcassi, Tomasso 59 

Castro, Valentin S3 

Certificates 215 

Ceruti, Enrico 38 

Cerutl, Giov. Battista 38 

Ceruti, Joseph 38 

Champion, Rene 67 

Chanot, Francois 68 

Chanot, Georges 68 

Chappuy, Nicholas Aug- 
ustine 68 

Claudot, Augustin 68 

Claudot, Charles 68 

Contreras, Jose 105 

Cremonese School 22 

DeComble, Ambroise 68 

Derazey 69 

Despons, Antoine 69 

Diehl, Martin 88 

Dodd,John in 

Dodd, Thomas loi 



268 



Index. 



269 



Dopfer, Nicolaus 88 

Duiffoprugcar, Gaspar 5g 

Duke, Richard 102 

Durfel 89 

Eberle, J. Ulric 89 

Eberle, Tomasso 57 

Edlinger, T. — 106 

Eesbroeck, Jean Van 1 06 

Ernst, Franz Anton 89 

Eury III 

Falaise 69 

Fendt 69 

Fendt, Bernard 102 

Ficker.Johann Christian.. 38 

Filane, Donate 57 

Fontause, Joseph iii 

Forster, William 101 

French School 65 

Frey, Hans 89 

Gabrielli, Giov. Battista 60 

Gagliano, Allesandro 54 

Gaglian'o, Antonio 56 

Gagliano, Fernando 56 

Gagliano, Gennaro 55 

Gagliano, Guiseppe 56 

Gagliano, Nicolo 55 

Galvam, Joachim Joseph.. 105 

Gand ) 

Bernardel ...J "' 

Gand, Adolphe 70 

Gand, Eugene 70 

Gand, Francois 69 

Gavinies, Francois 70 

Geissenhof, Franz 89 

Gerani, N 57 

Germain, Emile 70 

Germain, Joseph Louis 70 

German School 85 

Gobetti, Francisco 53 



Goffrieler, Mattheus 53 

Gragnani, Antonio 6i 

Grancino, Giov. Paola 61 

Grancino, Paola 61 

Groblitz 106 

Grobitz, A 106 

Guadagnini, Giov. Battista 39 

Guadagnini, Guiseppe 40 

Guadagnini, Lorenzo 38 

Guarnerius, Andrea 40 

Guarnerius, del Gesu Jo- 
seph Antonio 41 

Guarnerius, Guiseppe 45 

Guernerius, Pietro 47 

Guersan, Louis 70 

I-Iardie, Matthew 103 

HartjJohn 103 

Harmond 111 

Hassert .. 89 

Henry iii 

Henry, Charles 70 

Henry, Jean Baptiste 70 

Henry, Jean Baptiste Felix 70 

Hill, Lockey 103 

Historical Sketch 9 

How to Buy 7 

Hunger, Chr. Friedrich 90 

Jacanot, Charles 70 

Jacobs, Henry 105 

Jaspers, John 106 

Jauch, Johann 90 

Jauckjjohann 106 

Jeandel, P. N 71 

Kembter, Otto 90 

Kiaposse, S 106 

Kittel 106 

Kittel --- 112 

Kleinmann, Cornelius 106 

Kloz, Egitia 91 



270 



Index. 



Kloz, George 90 

Kloz, Joseph 91 

Kloz, J. Karl 92 

Kloz, Matthias 90 

Kloz, Sebastian 90 

Knopf, H. and L. 112 

Koeuppers,Johann 107 

Konigowski 100 

Lamy, Alfred Jos. 112 

Landolfi, Carlo Fran 61 

Lanoli, Giacomo 64 

Laprevotte, Etienne 71 

Lefebvre 107 

List of Violin Bows, W. E. 

Hill & Sons -.208-209 

'Cello Bows, W.E. Hill & 

Sons 210 

New Violins 211-212 

List of Violins, Collection 

1896-97 116-190 

Violas 191-193 

Violoncellos 194-197 

Fine Violin Bows, Old.. 

i98-:99 

Bows for 'Cellos 200-201 

Violin Bows, New.. .202-205 

'Cello Bows, New 206 

Viola Bows, New 207 

Double Bass 207 

Lofleur, Jac 112 

Lupo, Peter 107 

Lupot, Francois 71 

Lupot, Francois 112 

Lupot, Nicolas 71 

Maggini, Gio. Paolo 15 

Maire, Nicolas 112 

Maucotel, Charles Adolphe 74 
Marquis de Lair de Oiseau 74 
Maussiell, Leonard 92 



Medard, Francois 74 

Medard, Nicolas 74 

Medard, Toussaint 74 

Mennegand, Charles 74 

Meseuer, Giov. de 107 

Michiels, Gilles 107 

Miquel, Emile ii2 

Miscellaneous Makers 105 

Miremont, Claude Augus- 
ts - 75 

Montagnana, Domenico 51 

Most, Jean Laurent 74 

Music — Violin Studies and 

Solos 216-222 

Violin and Piano 223-229 

Two Violins 230 

Violin and Violoncello.. 

231-233 

Violin and Organ; 'Cello 

and Organ 233-235 

Three and Four Violins. 

236-237 

Trios 238-240 

Quartettes 241-251 

Quintettes 252-254 

Miscellaneous Arrange- 
ments 255-257 

Namy 75 

Neapolitan School 54 

Nicolas, Didier 75 

Nicolas, Francois Fourrier 75 

Nicolas, Joseph 76 

Niggel, Simpertus 92 

Norman, Barak 100 

Ohberg, Johann 107 

Opinions 215 

Ortego, Silvero 105 

Otto, Jacob August 92 

Ouvrard, Jean 76 



Index. 



271 



Pacherle, Michel 76 

Pacherle, Pierre 76 

Pajeot 113 

Pauorma, Geo. Louis 113 

Panorma, Vincent 61 

Paquotte, Sebastien 76 

Peccate Dominique 113 

Pedrinelli, Antonio 62 

Pelligri 113 

Perry, Thomas 104 

Persoit 113 

Pierray, Claude 76 

Pique, F. L -- 76 

Pirot, Claude 76 

Pons, Cesar 76 

Porlon, Peeter 107 

Preface S 

Pressenda, Giov. Francisco 62 

Pupinat . — 113 

Quinot, Jacques 76 

Rambaux, Claude Victor.. 76 

Rauch, Carl 92 

Rauch Jacob 92 

Raut, Jean 76 

Rayman, Jacob 100 

Reichers, August 93 

Remy 77 

Renaudin, Leopold 78 

Renaul t, Nicolas 78 

Restoration of Old Violins 215 

Richard, Robert 78 

Rocca, Joseph Antonio 62 

Rombouts, Peeter 105 

Rottembourg 107 

Rouchini, Rafaello 113 

Roze 78 

Rudet, P 107 

Ruelle, Pierre... ..- 78 

Ruggeri, Francisco 47 



Ruggeri, Giacinto 48 

Ruggeri, Giambattista 49 

Ruggeri, Giov. Battista 49 

Ruggeri, Vincenzo 48 

Ruppert, Franz 93 

Sacquin 78 

Salle. 78 

Sale, Gasparo da. 14 

Saunier 78 

Scheinlein, M. F 93 

Schewitzer 107 

Schmidt 93 

Schnoeck 107 

Schom, Joh. Paul 94 

Schonf elder, Joh, Adam 94 

Schonger, Franz 93 

Schools of Florence, Milan, 
Padua, Modena, Man- 
tua, Bologna, Turin, 

Saluzzo and Rome 58 

Schoon, Johann 93 

Schwartz, Bernard 78 

Schwartz, Geo. Fred. 113 

Seraphino, Santo 52 

Silvestre, Pierre 79 

Simon 79 

Simon 114 

Simonin, Charles 79 

Sirjean 114 

Slagh-Menlen 107 

Snoeck, Egidius 107 

Snoeck, Henri Auguste 107 

Socquet 80 

Solomon, Jean Baptiste 

Deshayes 78 

Somer, Nicolas 80 

Souza, Giov. Guiseppe 107 

Stadelmann, Daniel 94 

Stainer, Andreas 97 



272 



Index. 



Stainer, Jacob 94 

Stainer, Marcus 97 

Steininger, Francois 80 

Steininger, Franz 97 

Steininger, Jacob 97 

Storioni, Lorenzo 50 

Stoss, Martin 97 

Stradivari, Antonio 24 

Stradivari, Francisco 34 

Stradivari, Omobono 34 

Stradivari, Paolo 34 

Straube 93 

Sulot, Nicolas 80 

Tadolini, Iquazio 114 

Tecchler, David 64 

Testore, Carlo Antonio 63 

Testore, Carlo Guiseppe.. 62 

Testore, Paola Antonio 63 

Thibout, Gabriel Adolphe. 80 

Thibout, Jacques Pierre -- 80 

Thierriot, Prudent 80 

Thomassin 80 

Tielke, Joachim 97 

Tolbecque, Auguste 80 

Tonioni, Giovanni 64 

Tononi, Carlo 63 

Tononi Carlo Antonio 64 

Tononi, Felice 63 



Tononi, Guido 63 

Touly, Jean 80 

Tournatoris ^ 114 

Tourte, Francois 109 

Tourte, Savire 114 

Tubbs, Wm -- 114 

Tywersers 80 

Vaillant, Francois 80 

Vanderlist 81 

Vanwalbeck, L.ouis Val- 

beke 107 

Varnish — Whitelaw's Cre- 
mona 213-214 

Venetian School 51 

Verbuck, Gisbert 108 

Veron, Pierre Andre Si 

Verrebrugen, Theo 108 

Vigneron, A. 114 

Violin Bow Makers 109 

Voboom 81 

Voel, E 98 

Voirin, Nicolas Francois _- 114 

Vuillaume, J. B. -- -81-115 

Walters, J.N 81 

Widhalm, Leopold 98 

Willems 108 

Zwerger, Antoni 98